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Showing content with the highest reputation on 07/05/2019 in all areas

  1. Larry said 30 minutes ago that one hour ago Dirk said that in ten hours....
    4 points
  2. Hi guyz , PA just released the Shadow Hills Compressor natively !!! It will be on sale the 15 th of july !!! "For the first time, the supreme tycoon of compression and all its power is available in all major native formats. NEW: Enhanced by Brainworx with added External Sidechain, adjustable Internal Sidechain Filters and onboard parallel Mix (Dry/Wet) capabilities. We are thrilled to welcome to the Alliance the godfather of dynamics control, the Shadow Hills Mastering Compressor. Meticulously modeled by Brainworx after the legendary hardware, no details have been spared when crafting the digital version of one of the most musical and versatile compressors out there. A well known staple in the industry, the Shadow Hills compressor easily tames even the most unruly and chaotic transients with flawless tone and control. It’s no wonder that it has been the go-to buss compressor on timeless records by Radiohead, Foo Fighters, Beck, Green Day, Coldplay and countless others. Dual compression sections for unprecedented dynamic control One of the key things you can do with the Shadow Hills Mastering Compressor is treat your signals with dual-stage compression, dialing in compression either through the Optical or the Discrete sections - use both for maximum musicality! In the Optical section you will find the traditional Threshold and Gain settings, with a two-stage release time that is similar to the one you find on an LA-2A. With this section you can easily shape your dynamic range and bring up the overall level. In the VCA Discrete section you have a more exacting control over the ratio, attack and release settings, which easily allows you to fine-tune the compression response to fit a large variety of material. Switchable output transformers for sonic variety Further tonal character can be built with the three unique Output Transformers. Here you can toggle between each one to easily shift the tonal balance of the compressor. Choosing between Steel, Nickel or Iron will help the compressor add distinct flavors commonly found on a few legendary consoles. Nickel offers smooth lows with a polished top end and sounds great on more subtle and sparse recordings. The Iron transformer has a more colored sound but still maintains a pristine high end with a small boost in the 100Hz range. It operates through a Class-A output stage that applies only even-ordered harmonic distortion, leaving you with a very musical sound. Finally, the Steel transformer has an extremely detailed and fast response with a subtle boost in the 40Hz range which contributes to a rocking low end. Brainworx Plugin Only Features To round out the huge features that came straight from the hardware, Brainworx went a step further by adding a Parallel Mix control, a Sidechain Filter and an External Sidechain option in the proprietary toolbar! The Sidechain filter can easily prevent frequencies below the setting from triggering the compression for ultra-tight sounding mixes. Try the Shadow Hills Mastering Compressor now to experience a whole new level of dynamics management. Official videos :
    3 points
  3. Voxengo SPAN is always a favorite freebie!!! "SPAN is a free real-time “fast Fourier transform” audio spectrum analyzer" https://www.voxengo.com/product/span/
    3 points
  4. Thanks for the report! We'll fix it for the next release.
    3 points
  5. Happy July 4th, folks. I'd been using a theme called "Polar Blue (SteveC)" originally created for SONAR Platinum and posted on the old forums by Steve Cocchi. I liked it very much, apart from one or two minor things that I have altered. It also needed one or two changes to bring it up to date for Cakewalk By Bandlab, mostly logos and performance meters. I reached out to Steve, and with his blessing I am making my updates to "Polar Blue" available to the forum. Please note that everything that is good about this theme was put there by Steve Cocchi. There are quite a few subtle things in the theme that you might not notice at first, but I think are an improvement. Enjoy! Updated 2021-12-18 Changes: No actual image changes, but re-saved to prevent the "Compatibility Warning" message for 2021.12 release. Updated 2021-04-16 Changes: No actual image changes, but re-saved to prevent the "Compatibility Warning" message for 2021.04 release. Updated 2021-01-15 Control Bar Select Module Updated 2020-09-20 Changes: Support for Markers view Lock indicator icon, missing since 2020.04 Updated 2020-04-11 Changes: Support for Inspector Tabs and Arrangement Play for 2020.04 release GET IT HERE: Polar_Blue.zip Earlier versions: Updated 2019-09-08 Changes: Improved contrast in Export control module; subtle color tweaks for clarity; consistent track header icons; tweaked Show Take Lanes icons; simplified "edit" icons in Piano Roll View track list; miscellaneous other minor fixes and adjustments. Updated 2019-07-22 Changes: Now with support for Export control module; New transport buttons; improved icons for zoom; new icons for audio engine and MIDI panic; ruler background color.
    2 points
  6. I meant Shadow beast in double mode (opto+vca) versus 2 compressors chain (best opto compressor + best vca compressor of yours), maybe even chain which is built of 3 plugins (opto+vca+transformer sim). :) BTW I am wonder if we create FX chain in Sonar built from opto+vca could we get also something useful Yup, I understand and appreciate your time spent to show us new interesting plugins Many thanks for that. I hope PA watched your video carefully and implement your suggestion. They are absolutely highly demanded Oh, my.... Even more compressors?
    2 points
  7. Note also that plugin load balancing in CbB only affects VST effects, not VSTi's.
    2 points
  8. The MeldaProduction free bundle has a good analyser, amongst a bunch of other great plugins: https://www.meldaproduction.com/MFreeFXBundle
    2 points
  9. Condolences on your loss, and the emotion of that is very present in your piece. I like how the bass is actually doing jazz moves - it sounds great in the mix, maybe you could add just a bit more low end bass back in on the bass guitar? The piano's bass is nicely controlled - overall your mix I think has a slight favoritism for the upper frequencies. Of course, flute leads do that! When you listen to it without the flute (mute the flute!) does the mix seem balanced between high and low? I suspect you might get away with popping in half a db on the bass guitar, around 150 or so hz, I wonder if that would help fill out the bottom a bit more? Or could you bring up the kick drum a tad, which I think usually has a fundamental slightly lower than the bass? Or that's just me. As for the flute, for me it's mixed just a bit loud, and just a bit dry. But this is 100% personal preference, it just depends how much of a feature or spotlight you want on it. It sounds totally valid as is, and I agree, for a freebie, that flute patch sounds pretty good, sort of in a pan flute direction. I'd probably add too much reverb and ruin everything - as you have it, it certainly has clarity. Piano? Well then. With sampled pianos, every single different person on earth will give you a different opinion as to tone, velocities, eq, patch quality . . . my point is, get the piano to where it sounds good to you, put a little reverb on it, and call it good. You can massage piano samples for days and days only to chase your tail. What you have (is it ez keys or some such?) does the job, pretty well actually, but you might look around for some of the kontakt pianos that might have a bit more 3D depth in the sound field. And if you get a better piano patch, it will still be tricky to mix. Fun, huh? Just my .02 cheers, -Tom
    2 points
  10. To those who have a similar problem with latency issues "feeling" more delay than it actually says, I found an odd solution that seemed to fix this problem. The reason I say this is because when using my WASAPI Exclusive drivers on my midi keyboard had a noticeably less lag than if I were to use my Zoom U24 Audio Interface. To fix this, every time I open Cakewalk, I would close the start menu and open preferences. I'd go under Audio > Devices and uncheck all input and output drivers and hit Apply. Then I would check both again and hit Apply then Close. From there I can open any projects with a noticeably lower latency. Note, this also fixed my random audio dropouts and crackling noise. I wasn't surprised to see some compatibility issues when using this on Cakewalk after seeing the Manual's tested DAWs didn't have Sonar in it. But after finding this weird fix, I hope to help other people who may have a similar issue with this Audio Interface or some other brands. If anyone finds a permanent fix that would help us all please leave in your say
    1 point
  11. PLUG-IN COLLECTIVE: AUDIORITY From the 4th July to 5th September we have teamed up with our friends at Audiority to offer the Deleight and Distortion1 for FREE. From the 4th July to 5th September we have teamed up with our friends at Audiority to offer a 50% discount on any individual plugin and 15% off the bundles
    1 point
  12. Instagram was having issues loading photos and Presonus took the opportunity to troll.
    1 point
  13. $39.50 at Don't Crack Want to work your guitar chops this summer? Get the amazing Arobas Music’s Guitar Pro 7.5 for ONLY $39.50 before July 11th.
    1 point
  14. It does not matter. The only difference between "Save As" and "Save Copy As" is "Saved As" closes the current project and opens the newly saved project "Save As Copy" makes the copy but leaves the current project open Both save functions may store the project file in any folder including the current project folder. Keeping multiple project files in the same folder is OK. What is done in one of the project files does not affect the audio referenced in the others, Deleting audio clips from a project does not delete the clips from the audio folder. Destructive edits create new audio clips.
    1 point
  15. I can get Cakewalk V2019.05 Build 31, 64 bit to crash by doing the following: In the track view, bus tracks, expand a track's envelopes Create a volume envelope with some nodes highlight the entire envelope by clicking box to the left of the envelope's label Copy Special (ctrl+alt+c), and only select the "track/bus automation" Without moving, immediately Paste Special (ctrl+alt+v), and select a different bus to paste the envelope (either with, or without an existing volume envelope) In my case, this will result in an Unhandled Exception error The DMP file is too large to upload
    1 point
  16. ok stupid idea ... Let's think of a group buy ...the dynamic is back ... we keep vauchers for transfer , one buy 10 (i can do that) and we 're good to go ? Larry could you do the maths ?
    1 point
  17. Available here: https://cinesamples.com/category/keyboards Of note: Piano In Blue - $69 (reg $99) - https://cinesamples.com/product/piano-in-blue CinePiano - $139 (reg $199) - https://cinesamples.com/product/cinepiano
    1 point
  18. Forgive me for linking to a blog post, but I've written up a little case study on using an Aux track to handle automating FX level for multiple tracks using a single envelope. I hope someone out there finds it useful. The Prodigal Sounds Blog - Another Way to skin an FX Send
    1 point
  19. I adjusted it a bit. Brought the kick outside mic up some in the mix since it had more of the low end extension. We'll see what that does. I'll bounce it down a little later. I also made some adjustment to the chorus guitar that does the octave part. It didn't pop out like I felt it should.
    1 point
  20. A bundle is made from the project and the audio clips referenced in the project just like a new project folder created by "Save As" with "copy all audio with project" enabled. Audio not used by the project will not be added to the bundle or copied by the "Save As" function. If project has a lot of non-destructive clip edits, the project size may be reduced by using Apply Trimming to permanently remove the unused portion of the clips. If the project has a lot of silence in clips, removing the silence with split clips enabled will reduce the disk space used by the audio clips.
    1 point
  21. Rippin a page right out of Roy Thomas Baker's book
    1 point
  22. I think that's the way many are working (spreading sections of each part across tracks (for separate processing of each section, etc). This is why many productions are using more than 24 tracks. If you listen to any one point in the song, there's usually not that many different parts playing simultaneously. With BG Vocals, it's common practice to triple-track each harmony part (left, center, right). This helps a couple of voices sound more like a group of singers. If you've got three-part harmony... and put each section on separate tracks, the track count quickly adds up. In the case of mocking strings/winds/brass, it adds realism to have each part tracked individually. In my case, when doing "punch-ins" to fix a section, I don't like punching-in on the original track. All my punch-ins are recorded on separate tracks. I prefer DAWs that allow processing per-clip in addition to per-track. DAWs that don't allow processing per-clip force the user to spread those parts across multiple tracks. I do think there's also the, "Because we can!" factor. With the processing power available today, folks are going to use it... (for better or worse)
    1 point
  23. 1 point
  24. DELAY3000 VINTAGE MODERN REPEATER Delay3000 is an emulation of the Roland SDE-3000 plus Nembrini Audio extra features (Intro offer for just $29! all July, regular price $97) BUY NOW
    1 point
  25. The Trial is available now if you want to give it a whirl... https://www.plugin-alliance.com/en/products/shadow_hills_mastering_compressor.html
    1 point
  26. I got to see him play in Denver once. So cool. 😎 Saw robin Ford too. He is short. Told him to look for me out on the road. I had big dreams then. And once i randomly got invited in to see jorma kaukonen at the boulder theater. He played an amazing heartfelt show. After, someone from a local music shop who's name I've forgotten asked me if i'd like to linger and meet jorma. Of course. So, there was a line of people waiting to meet him with records for him to sign. Jorma looked so unhappy as i waited my turn with nothing in my hands. I'm not naturally funny, but i did my best. When i got to him, i said hey and looked at him totally seriously and asked if that performance was the best he could do. He laughed hard and i went home feeling like i made a nice old man a little less miserable.
    1 point
  27. Do you know the bass player who placed this advertisement ? Dokument.rtf
    1 point
  28. As an unreconstructed rock'n'roller I don't generally use more than a handful of tracks. NOTE: Back when I was recording on tape I never had the luxury of using a separate track for every piece of the drum kit, so I do that now, which bumps up the track count. I wouldn't set any kind of artificial limit on tracks, but I believe the song and the performance counts more than the engineering or the production, so if I can't get it done with a couple of guitars and a piano I feel like I need to go back and write a different song.
    1 point
  29. Knowing their recent trk record, they gonna drag it out!!
    1 point
  30. Man, I'm going to be asleep!
    1 point
  31. Something is coming out in 10 hrs according to Dirk... He said to watch your emails 10 hrs from now about an hour ago!
    1 point
  32. My voucher went down this month, but I almost have nothing left to buy! I bought a fair amount their stuff before the massive price cuts.
    1 point
  33. 1 point
  34. Gingers will take care of you from the sky... this is a super good song John,thanks for sharing thx martin
    1 point
  35. Very cool, This is something Ricky Williams ( Flipper ) would have written. I agree with John.
    1 point
  36. Nice. You both added your unique touches to make an excellent work of art. You should do more together. 😀John B
    1 point
  37. Hey, Daryl, Wow, I've been only popping in and out of the forum for the past six weeks due to life and work suddenly getting extremely busy, so I almost missed this tasty Brit-Pop rocker!😀 You guys did a fantastic job on this. The lyrics are great, the vocals and harmonies are super, as always, Ed's bass was dynamite and really drove the song, the keyboards were outstanding, and Mesh's guitar tone and solos were the icing on the cake! The mix was crisp, clear, and right on the money. Another cool collab, boys, really well done!👍 Bob
    1 point
  38. That's also a very good point, because I've often said if I had to choose between only playing or only playing the studio, I'd choose live. I guess there's enough residual old school in me that I think live performance has a vitality that's hard to match in the studio, and following your ethos helps to give a more authentically "live" feel. (At a seminar during Q&A, someone said he couldn't get much more than 120 tracks or so, and what would I recommend he do. I said he didn't need more tracks - he needed to take a course on arranging .)
    1 point
  39. Thanks for the great tip, Promidi! I know there is a MIDI CC standard, but the parameters a MIDI CC controls are often unique per project anyway, at least for me. Any given parameter on any given VST synth could be MIDI learned to (almost) any MIDI CC number, so pre-defining global parameter names is not really feasible. Assigning a name to an envelope would probably be most convenient when creating the envelope.
    1 point
  40. I once took a girl to a So. Cal. restaurant called the Stinking Rose where they specialized in garlic....Italian of course (the girl). https://thestinkingrose.com/bh/about-us.html
    1 point
  41. When talking about music, how else do you describe it? "Yeah, cool, it kind of reminds me of people skateboarding next to a yacht harbor on a cloudy day. And then a fishing boat comes by and the captain waves to the skaters."
    1 point
  42. 1 point
  43. You clearly haven't spent enough money on plugins, JB! 😁 As was suggested above, that claustrophobic effect has nothing to do with sample rates or plugins, but rather almost always comes down to one or more of the following: 1. Too much spackle between the cracks, with reverb and compression being the main offenders. Gotta leave little holes between the notes/hits. 2. Using a lot of thick synth tones and layers of distorted guitars that have been manipulated to sound wide on their own. It's counter-intuitive, but mono tracks make for the widest mixes, while lots of wide-stereo tracks actually dilute the overall sense of panorama. 3. Lack of contrast. Equality is fine as a social ideal, but it has no place in a mix. Trying to make every element equally loud, equally full-spectrum, equally dry or wet or equally broad - will add up to a wall of mush. Not everything needs reverb, not everything needs to sound great in solo, and not everything needs to be full-spectrum. 4. And of course, you can easily undo a good mix with bad mastering. Mastering should always be icing, never remedial. I've got a whole bunch of old mixes that suffer horribly from exactly the syndrome you describe. How I wish I could go back and re-do them! Sadly, all I can do is analyze them and swear to be less timid in the future. If it's to be panned left, then dammit, why not 100% left?
    1 point
  44. Also since this is the Coffee House shouldn't the routine be written in Java 🙄
    1 point
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