Leaderboard

At present, the meters in the mixing console can be set to display Peak, RMS or both. I think, along with them, we need LUFS/LKFS and True Peak as well. That would really help us mix projects according to standards like EBU R128 or ATSC.

Sounds like it could be a ground loop. Isolation transformers, grounding everything together, lifting grounds, keeping power cables away from signal cables, etc., all work, but sometimes different methods work on different systems. You could have a defective piece of gear too, but I'd suspect a ground loop first. With my own gear, I start with plugging everything into the same outlet on a little multi-outlet zip strip. That lets me know everything is at the same ground potential. If I still have hum, I start experimenting and tracking it down. BTW, do you know why PA Systems hum? - - Because they don't know the words. (groans are appreciated) Insights, incites and lousy puns by Notes

Synkrotron's wife found out how to block URL's. 🤣

The Bank No. / Program No. must be being reported back from the VSTi. I've got a few VSTi's that I know respond to bank select (like Yamaha's old XG softsynth), but don't report a patch list. If I host the XG VSTi in Cantable, and route from Cakewalk via a hardware MIDI interface it will receive the Bank Select, but hosted in Cakewalk, it never gets it. Same with SysEx.

Hey guys, good to see so many of you from the old forums over here. Anyhow got a weird glitching on a plugin I'm trying to use, every time I send any midi note to the instrument there's a popping kind of sound. The only difference between this plugin (Arminator) and all the other I use is that it's 32 bit. I've cranked up the buffer size on the soundcard to 1024 and still I get this weird clicking. I can't think it's anything to do with the computer spec either as I can open round 15 instances of Xpand2 with absolutely no issues at all. Be great if someone knows any way to sort this as the sounds from the plugin are really good All comments appreciated.

So I was basically trying out Elysium harp and made some mood music......or meandering whichever you prefer to call it. I still don't think I've work with the harp enough to understand it totally. This is intended to be relaxing music. The Mystery-

This is one of our other songs we are working on. Recorded live from band practise. No fancy mixing etc but your thoughts on the song itself and its structure would be appreciated. Im lead vocals and Håkon is backing. Thanks again. Gary Note. this is not a mix... it is ideas for a new song that we have written. ------------------------------------------------------------------------------------------------------------------------ Going 100 miles an hour - Time is passing by The pedal is on the metal - Watching white lines fly Looking in the mirrors - And what do I see Sun shines on the river and it’s blinding me I’m moving on. Yeh yeh yeh. I’m moving on. The past is behind me - Lord.... I’m moving on Fast roads in the open - Somethings up ahead Everything’s in motion - Back on track again Wipers got a rhythm – Like-the-one on the radio Skies are dark and crying leavin’ tears on my window I’m moving on….. White lines are flying x 4 White lines are flying/Movin’ and groovin’ x 4 I’m moving on….. Suspension taking a beating, Shocks going up and down. Speeding on a country road heading out of town I’m on the move, travelling fast, got somewhere that I gotta be Movin’ and groovin’ is such a blast, I’m right where I want to be I’m moving on In the middle of a showdown - It’s easy to get screwed, but The other side of the rainbow - Dreams are coming trough Driving through the desert - Flying over hills Life could not be better - This journey is a thrill I’m moving on

Since my primary instrument is saxophone, I can relate to this one:

I'd like to do a review on these strings as this is the first time I've used them. I used the 9-42. I am a bender by nature and love the feel of lighter gauged strings. The package said Maximum output and clarity. These strings cost almost double what I normally use Ernie Ball super slinky Pinks. So I was cautious to buy into gimmick strings. I've had the strings on my guitar now for almost 2 weeks. I must say the longevity of the strings has indeed held out very nicely. As for the maximized output and clarity, There is a slight difference, I wouldn't say maximized output, but I would say improved sustain. The clarity is a toss up, they have sounded like brand new strings for almost 2 weeks now so I guess there is some truth to that as well. Over all I would say im impressed. Not sure I would put them on every guitar I own but for guitars in the recording studio, these make life a little bit easier because of their lasting sound. Dare I also say I found them to stay in tune slightly more than the normal EBSS Pinks

Lack of in depth tutorials really hold these back from being popular. There is Chandler's youtube channel that's helpful. Sometimes VSTBuzz or APD will also have a sale on Melda stuff. I got their super duper compressor and delay for $99.

How does the Trackman Marble play with the ZX81?🤣 I have a ZX81 down in the basement, my first computer, built from a kit. Here's my review of The Fantastic Music Machine for InfoWorld, December 19, 1983. Guess I go back 36 years with computer music software. Hadn't thought of it that way.

A super useful tool finally at a decent price. I cannot get it right now (the monthly bills already gone over the limit), but as the promo goes thru the end of March I'll grab it by the end of the month,

DNS fixes can take 24-48 hours to propagate to all the servers. That might be the issue too.

Shame, off stage he was a completely different guy.

Back in the early 80's this was my best "PC" for music production...

The Paradigms are sooooo expensive! I've been told by a few people you're not really getting much more advantage out of them to justify the price difference, but I haven't actually tried them myself. Honestly if you're touring a lot and changing strings for every show, even regular Slinkies would be fine. I don't think I'd like to trust any kind of string to last more than a few shows if you're REALLY belting them or doing a lot of Floyd stuff. I reckon the Cobalts are the ideal half way point between affordability and that extra durability and zing you get for a more premium string. The M-Steels are most definitely a special occasion string for me, and definitely worth it.

msmcleod : I/we were making samples on the 24tr to the 2tr and flying them in before people knew what samples were !

https://www.intel.com/content/www/us/en/products/processors/core/i7-processors/i7-8086k.html Life In The Fast Lane

Hello Perry and welcome to the forum. The image below shows the enabled Input Echo button on the track labeled Instrument T3. Also note in the image below that Cakewalk by Bandlab (CbB) has a help module window that will display real time information about whatever location your cursor hovers over. The help module window can be enabled by pressing the "y" key on your computer keyboard or by opening "View" > "Help Module".

This poor girl doesn't even understand how to use a mic, and yet she's still very popular. Strange how that works, ya? 😀

Thanks for the heads up. 😊

That will be one of my next pick ups for sure, those and the Paradigm. Also looking forward to trying out those ProSteels @HiddenSymmetry mentioned. I knew you were endorsed by EB, but I also know you to be a man of good integrity. Looking forward to checking out the M steel's.

If your monitors are powered plug them into a different outlet than your computer.

80% Off at Plugin Boutique $9.00 https://www.pluginboutique.com/product/2-Effects/36-Transient-Shaper/3443-TS-1-Transient-Shaper?fbclid=IwAR0jnmNc4ty4jdwNSWsxCo31lAm3DUtYP2UWdbYGmChLwA-DRgn_kW5bNZo#a_aid=57ac3d39bf8f6&a_bid=5468b3dc&chan=GEN001

That pic sure brings back memories! I used nothing but those Markleys for years. I still have a road trunk completely covered with those yellow stickers that I plastered all over it every time I changed a set. Back then it once a week, plus top three every other night or so playing 6 nights a week, 5 hours a night, typically 48 weeks a year. Tore through alot of wire too, replaced all my guitars with SS. Now playing casually I've been using d'addario prosteels, they work pretty well for me. As you say though the quality has changed throughout the years.

I definitely rate the Cobalts - they sound fantastic, but for recording I'm loving the M-Steel range. Suuuuuperrr bright tone, which is great for any lead guitar work, and actually also really good for any kind of sparkly clean stuff too. They also tend to last for ages too without losing their integrity, unlike a lot of other brands. Full disclosure, I'm endorsed by Ernie Ball but that was after a lot of searching around after getting let down by my previous string company. Their strings are fantastic but the quality control became an utter joke, so I went off on a huge search to find something I'd feel was at least as good. I was completely happy with everything until the quality started to slip, so it was big shoes to fill. The Cobalts and M-Steels absolutely blew me away and I haven't looked back since.

Interesting. So you would say more than just Snake Oil @Chuck E Baby?

Your going to have to copy paste the old Pro Channel Presets (compressor algorithms) to the new Pro channel presets folder. I had to do it as well. PS- you might want to do the same with your Track Templates as well.

".....lest we shun them!" It's really funny to me because I live close to Lancaster PA which is a major Amish area. I've seen many horses and buggies in my time. 😀JB

I use a ground loop isolator like this, between my audio interface and my monitors: They're around $9 / £6 from Amazon.

I'm using an Roland A500 Pro. Has a descent synth type of key bed and nice amount of faders, pots, buttons and pads. A nice all round type of keyboard, controller ... but I'm on the lookout for a Studiologic 76/88 keys something to add to my setup for piano style playing.

Absolutely agree with this - the zooming is really idiosyncratic when it comes to lanes, and seeing the lane overview really large isn't helpful at all.

I'm passing on this. I don't need any of these or want them. I thought about the piano but the negative on that is the loading times.

You've gotten much farther than I ever got. I tried years ago when I still had external hardware and never got it to sync. It sort of forced me to do everything in the box, and now I don't have any external HW except for a mic pre. Maybe someone else can comment, but I wanted to share that your inconsistent results with the latency are not unique.

If you did record audio, and you didn't check the "Copy all audio with project" setting when you saved it, e.g.: Then your audio will be saved in your global audio folder, as specified in your preferences: To find out what the actual audio files are, select Project->Audio Files from the menu: This will bring up a dialog, showing all the audio files used by your project:

Hi , actually I had in mind the song" Don't Give Up "and I was telling myself that you could do a duet like this :-) cheers.

I had Becan and Eggs for Breakfast. Is there a Reaper theme for that

Unfortunately not. Instrument files don't work on soft synths. Cakewalk also doesn't send Bank Select messages (Ctrl 0, Ctrl 32) or SysEx to soft synths. I really wish it did. Cakewalk retrieves the patch list from the VSTi itself. VSTi's have a list of parameters. Cakewalk saves the values of these parameters along with your project, so they're recalled the next time you open it.

Personally, I don't see anything wrong with using take lanes as a way of building up a more complex part made up of all the takes. This is exactly what sound-on-sound mode is all about. If you want comping, use comp mode, otherwise use sound-on-sound. I don't find overwrite mode particularly useful. I'd rather use sound-on-sound with mute-previous-takes enabled - at least then I can go back to previous takes if necessary.

Okay, I think I see. It looks like you've maybe sometimes been using Take Lanes to record different elements that you want to hear simultaneously. If you're working with different musical elements that you want to have playing at the same time, that's not really what lanes are for. Lanes are where different takes (or versions) of the same thing go so that you can cut and stitch them all together to make one finished track. For instance, I have a Snare track, and I could have 3 Take Lanes, all with clips of stuff I'm stitching together to make my eventual Snare track. Those clips in my case have the recorded audio of my own drum performances, and in the future if I start working with this stuff they could also be audio loops or samples. But I don't have things in there that aren't the snare track, I don't put in synth stuff or hi hat or whatever. Those belong in other Tracks of their own. If you want to work with several different things that are playing at once, take your clips and drag them to their own new Tracks. That's the paradigm difference. Lanes are a workspace where you have the elements of whatever is going to make up a finished Track (in the form of Clips). Once that track (and the other tracks in the project) is assembled, you proceed to the mixing process. Used as intended, there's rarely a time when you'd want to hear overlapping sounds in Take Lanes.* That's why the Comp Tool automatically mutes the other lanes. It's because in normal use, you'd not want to be hearing them. It's set up so that the clip that you're working with is the one that plays, and if you want to hear the stuff in the other lanes, it's probably time to give them their own tracks. While tracking, you might record two takes of rhythm guitar or lead vocal that sound great and want to use both in the final track, but in order to do that, the practice is that once you've decided on it, to take one of the clips and move it to its own track. That way, everything can be panned, have its level adjusted, etc. *As a mixing engineer, I sometimes,as a joke, will unmute all 12 take lanes of the lead vocal and then Solo the track so that it sounds like Satan's Barbershop Quartet, but then I'm kind of odd. Normal people don't act like that.

DITCH THAT SOUNDBLASTER AND GET A REAL AUDIO INTERFACE! Seriously. Who cares that "it was working before?" It ain't working now. They are known garbage. Get rid of it. Pull it out and smash it with a hammer. And don't tell us you can't afford a real interface; you have an i7 and 24GB of RAM. And Miroslav 2. No offense, but you are like the guy with a $140,000 Mercedes SL complaining it doesn't run right but instead of putting premium unleaded in the tank like they tell you to, you insist on running the 50/50 mix of turpentine and dirty water from the Cheesy Mart.

Speaking of decorum, it should be addressed how we respond to people who come on here to ask questions. I'm not naming names but there is one person who can be very abrasive in addressing posters who he believes are asking questions that (to him) aren't worth answering. Though he is very knowledgeable in matters that concern us here, common courtesy seems to be beneath him. So perhaps if we're addressing decorum we should add to always address people here with courtesy and respect and that no question is a stupid question. If you can't address somebody and answer their questions without common courtesy and respect please don't bother responding at all. 😀John B Oh, and I do believe it's proper to say thanks to those who help (although I'm guilty of not always doing that. I will try to do better😄)

Whoa, great slow one. Vocals and bgv's especially, quite good. Some spots, the foundation chords clash with the melody, maybe 1:25, some synth holdover might not be in line with the melody? I dunno. The drums seem a bit subdued in the mix, maybe somehow make some room for them. But I thought the song itself was killer. Those bgv's particularly add a ton to the vibe. cheers, -Tom

Not as fancy as some of the others, but it works.

Hi Perry If you want to hear what you're playing/recording click the midi echo button in the track view. It looks sort of like this )))). Good luck with your music!

Original by Gillian Welch. I do not have the guitar skills of David Rawlings, so I had to re-arrange to fit.

EDIT-Tried to replace with new URL because I wanted to boost volume of audio. Cannot remove video below so if you click on it it will not work. Here is the URL with the explanation of the video. Follow the URL directly below. Thanks. PS-If anybody could explain to me HOW to remove the dead link at the bottom I'd appreciate if you could let me know how. Thanks! 😀John B https://www.youtube.com/watch?v=WnWKcj3gNhg

JBridge is well worth the small investment. It offers far more options/tweaks to get around potential compatibility issues with various 32 bit plugins. Note that there's no need to use the JBridger program to create wrappers for each plugin. If you fire up Cakewalk Plugin Manager and select plugin properties on your 32 bit plugin, you can just check the "Load with JBridge wrapper" option and it takes care of it for you.

Thanks for the help, but for me it ended up being another problem. I went through all the de-activating and re-activating, uninstalling and re-installing only to find out CbB needs to use the VST3 version for Region FX... With all the issues I've had with VST3 plugins (in Sound Forge 12 mostly), and all the crashes I've been having lately in CbB, I tried removing the path to the VST3 folder and have been using the VST2 version of plugins. Once I tried putting that path back in the vst options, it was back in the Region FX. So if anyone has this issue in the future, I hope this post will be helpful