Leaderboard

I don't see 12 buses in Mixbus 32C as any kind of limitation at all. In <daw of choice> mix and pre-production (i.e. EQ, automation etc.) with your favored workflow. Export tracks/and or stems and import them in Mixbus 32C. Then, as stated above, mix like you are on a real (warm) analog console. I tend to export live drums as: 1) stereo WAV of toms 2) stereo WAV of OHs 3) mono kick (maybe even Kick in, out, sub) 4) mono snare top and bottom Those Mixbus 32C tracks now send to one Mixbus 32C drum bus. MIDI drums such as Superior, AD2, BFD3 can be a different animal and should be handled accordingly by either exporting stems (similar to live drums) or load the VSTi and export/import the actual MIDI used. 5) stereo mix of rhythm guitars 6) stereo mix of solos 7) stereo mix of acoustic guitars 😎 stereo mix of synths and/or orchestrations Those Mixbus 32C tracks are sent to one 'music' bus 9) Vocals as needed are sent to one Mixbus 32C bus 10) Bass tracks (dist, clean, DI) are sent to one Mixbus 32C bus That's only 4 of the 12 fixed Mixbus 32C buses. Vocals could be broken out into lead/bg/gang using 2 more buses, if desired, leaving 6 more buses available. IIRC Harrison has finally allowed delay compensation on their AUX buses so there is that luxury albeit they are not true buses with the mojo that comes with them. One man's opinion. <edit: wrong bus count fixed>

This example I think helped me feel compelled to pay attention to this saturator. I was looking for an example that got me interested.

Fixed!

The man is more woke than a wookieee

That's on me, I named this promo. Then I thought about this and the "Get Your Tron On" (also my handiwork) aren't great for our translators so I have to apologize to them. In Spanish I believe the SampleTron 2 promo essentially became "Light your Tron on fire" or at best "Turn on your Tron" which is a little better.

Unlimited FREE Mastering! https://www.bandlab.com/mastering

Interesting! I thought I'd give this mastering service a try since I've recently "finished" mixing Higher by Beyonce's band ‘The OG´s’ from the Plugin-Alliance Sessions. https://www.plugin-alliance.com/en/session/session-post/items/eric-racy-higher-session.html I was targeting the loudness of the released version (-9.4 LUFS), so my mix was already pretty loud (-9.65 LUFS) and there wasn't much headroom to play with. Still, the mastering site managed to make a couple of them louder - and I didn't hate them either. (I checked the loudness at the online Youlean site: https://youlean.co/file-loudness-meter/ ) I think they did a pretty good job. 1. Higher (My Mix ) (-9.65 LUFS) 2. Higher (BL Universal Master) (-8.66 LUFS) 3. Higher (BL Fire Master ) (-11.06 LUFS) 4. Higher (BL Clarity Master) (-10.10 LUFS) 5. Higher (BL Tape Master ) (-8.55 LUFS) I'll definitely be trying this site on a mix with more headroom next time.

From all my years on the music forums, it seems a heck of a lot of us are decent musicians, but can't sing well. I think there should be some kind of forum connections between people who can play or play and write music well and good vocalists interested in singing on others' productions. Maybe there is and I just don't know about it?

Run the EWIC to update

FabFilter Saturn is the king of saturators.

There's a lot of "congestion" in the middle of the stereo field, and low end mud. Fun one though! Take a look at Mike's video Kick and Bass Side Chain, maybe that will help a bit on the low end. Some high pass filtering on the guitars and keys might also help. Generally I high pass most tracks, some feel you can get carried away with it, but I think it tends to help. Even an open E chord on guitar can stand some pretty aggressive high pass. The fundamental of that low E really isn't what "defines" the timbre of an electric guitar (IMHO). Ignore what it sounds like "soloed", its how it sounds in the mix that matters... Reverb can stand quite a bit of High and Low pass as well. t

This instrument isn't quite like anything you would expec. Explore the familiar sound of the piano in a completely new way, play textures, strikes, hits and sustained sounds including screws. Save 30% for a limited time only! $49.25 https://www.pluginboutique.com/product/1-Instruments/55-Kontakt-Instrument/3298-Deconstructed-Piano

Do you want to build a snowman? Me neither, so come join me as I take a look at Originals Cinematic Frozen Strings SATURDAY Jan. 8th at 11:00 AM EST. I am also hoping to compare them to some of the other Spitfire strings I have on hand (Originals Intimate, Epic, Albion NEO), should be a lot of fun, so bring a nice warm coat.

Soundpaint needs some soundthinner.

We're so happy to present our latest release and very-first plugin suite: ab Decoder Suite - a set of plugins that will help users transform, manipulate and decode Ambisonics signals to various speakers-arrays from Stereo all the way to Surround formats and Atmos beds! ab Decoder Suite comes in VST3 | AAX | AU and is compatible with all major DAWs both for Windows and MacOS (Intel and M1) But that's not all! A free version is also available for those who simply want to quickly decode to stereo: ab Decoder Light. Price is 44 Euros More info at https://www.audiobrewers.com/plugins/decoder

https://hofa-college.com/?utm_medium=social&utm_source=facebook&utm_campaign=H-Co_WinterAktion_EN_Lookalike_Neujahr_hell

Updated with Price of 44 Euros! I had to get ahold of them and let them know that they left the price off of the web page!

I gotta disagree somewhat about the cables. A good guitar cable is not that expensive and will save endless headaches. The overpriced snake oil ones are a waste of money for anyone.

Question - I went for this X Saturator after all. Going to the SSL site I downloaded and have the iLok key etc. Set up my SSL account. I see that third party purchases are not registered at the SSL portal. Question is, how do we know when there has been a version update to SSL software? I see we can go to the downloads site at: https://www.solidstatelogic.com/support-page/downloads to do a re-download. But I'm guessing the practical way I'll know if there has been a version update is hearing about it here on the Cakewalk Deal forum.

I'd start off by saying cool tune, love the loose attitude towards the end, and your vocal performance totally works! the mix struck me as having these potential issues . . . 1. The vocals are too loud. Processing is just fine, really, maybe just drop em 1-2 db at least? 2. The guitars sound thin, a bit jangly. Jangly guitars can sound very cool, but often the parts are doubled or chorused to give it some thickness. 3. Bass guitar brought up some unfortunate questions about how it was recorded and what equipment you have. How did you record the bass, what audio interface, what preamp, did you actually mic an amp, is there a clean DI blended in, those sort of questions. Just a total guess but it sounds like you stuck an sm57 in front of a mediocre amp that had seen a few years on the road? And ran the mic line into a not awesome preamp or audio interface? Not trying to be harsh, because we all work with the means and the tools we have. But if you were looking to redo and improve the sonic quality dramatically, I'd start with the bass recording. If you solo just your bass track, how does it sound all by itself? Does it have the kind of presence, clarity, and tonality you'd want to bring into any mix? From experience, I'd say one of the hardest turd-polishing efforts is making a bad bass guitar recording sound decent. EQ can only do so much down there. If you had a clean DI bass track recorded as well, I'd go with that alone, which would increase clarity I think. You've got both singing and songwriting talent, and I dig the attitude of the song! It's very much worth the effort to improve! cheers, -Tom

10 pesos is my max.

Yeah, I know that but my fingers seemed to have forgotten that.

32c has 12 busses. Regular Mixbus has 8. But yeah, I track and edit in CbB, export all the individual tracks and mix in Mixbus. Probably when the next version comes out and the upgrade goes on sale for dirt cheap I will move up to 32c for that full EQ section....

lol and there goes the saturday eve good laugth ahahah thks !!

#metwo

I'm assuming you mean where do forum members "host" their songs? A quick review shows overwhelmingly its SoundCloud. However YouTube, SoundClick, BandLab, BandCamp all get an "honorable" mention. If you're looking for additonal resources of where to post for peer review, or exposure to listening audiences: well, I don't have any recommendations on that... t

The vocals and guitar seem to be the loudest things in that mix - it's important that they're heard, but you also need to balance out the other instruments. When starting a mix, one of the first things I do is to get a good general balance before adding compression/eq - it helps to turn the volume down so that I can just barely hear it, and then to adjust the levels so that you can make out all the instruments. It can also help to listen to reference tracks at that volume too, to compare which elements of the song you can hear. Once the levels are approximately there, you can turn it back up and start making things a bit clearer by adding eq/panning. When I was learning to mix, I used this article: https://docsbay.net/the-equalization-primer-the-complete-lesson-on-getting-started-with-eq-by-robert-dennis (I don't think it was on that website when I found it, but the article text is the same). If any instruments sound thin, you can try adding some compression to give them a bit more sustain/punch/body. I usually apply compression before the eq - compression alters the sonic quality of the instrument, and then the eq helps it fit in the mix. Compressing the busses also helps to glue everything together - generally, you'll want a gentler compression ratio and attack/release for the busses than the individual tracks.

At this price, it's a damned good deal. It's obviously a companion piece to Keyscape. KeySuite has a lot more instruments, but I find the quality to be better with Keyscape. For example Keyscape just has a Yamaha and KeySuite has a whole bunch of acoustic pianos. But I like and use the Keyscape stuff more, particularly the electric pianos and the more unusual instruments. Plus Keyscape is integrated with Omnisphere and can do all the things that Omni can do. Of course, if you have Falcon, you can do a lot with KeySuite. If you can afford both, there are a ton of instruments in KeySuite that aren't in Keyscape. Personally, I don't tend to use it much, aside from the Austrian Grand, which I think is great, and the Digital set. But there are people who swear by their Steinway, which used to be available as a separate instrument.

I 100% agree with @DeeringAmps here - a high pass filter could go a long way to sorting out the mud in the low end, and then some ducking compression on the bass side-chained by the kick drum. The bass itself could do with a bit more treble to give it more definition. A small amount of distortion can help it poke through without sounding obvious in the mix. I would suggest looking at your monitoring though. That the bass is so obviously boomy on my system, suggests that your monitoring is presenting the low frequencies to you at a much lower volume, and you're turning them up to compensate. I've had exactly this issue in the past, and I've had the opposite as well! (too much bass in my monitors leading to a really tinny mix). The only way to fix it is to fix your monitoring, which means a combination of: Acoustic treatment in your room Better placement of your speakers Optionally room correction software such as Sonarworks or IK ARC 3. If 1 & 2 are difficult / impossible to do, definitely consider option 3. I use ARC 2.5, and it totally transformed my mixes by giving me a more honest frequency balance. Another option would be to get the headphone-only version of Sonarworks and mix on a half-decent pair of headphones that's on their list. This does work, but you really need to take the time to get to know your headphones well to get decent results - the same goes for your room too really, but even more so for headphones.

It's not a loop library, it's a KONTAKT multisampled drum library along with some midi files of grooves (and the samples available as WAV files also, as the original post mentions). It's pretty clearly the same developer that was previously calling himself AnyDayLong who works or worked with Past to Future, which makes very similar, decent libraries. They're not meticulously detailed samples that have the kind of detail you'd get from the likes of Superior Drummer or even Addictive Drums, but for someone who likes the sound of their demos, IMO, at $15, they're a pretty good value.

^^^ +1 That's a great one, especially given its price (free, or a suggested $5 donation). It's the only library I have with people shouting "KILL!" in it. Although I haven't found a place for that sample yet. You do need full Kontakt, though, whereas the Boz samples have their own player.

Do you know that if you press the scroll wheel that a pop up allows you to select which tool you want.

Don't do it then - just because there's an entry in the Available Updates tab in Native Access; you don't have to click the Update button, and they don't install themselves either. Disable Native Access from your computer's start-up (that's what I do), and it'll be like the update was never released (unless you encounter a problem and want to install it).

Two things: 1) Like I mentioned before, the whole DAW is one giant Harrison channel strip. 2) What some people see as limitations (fixed number of busses, etc) actually force you to streamline your mixing workflow and make it more efficient.

Saturator is my middle name.

Open Soundpaint and click the "Menu" icon with a 1 on it in the upper lefthand corner and choose Update https://soundpaint.com/

Sample that to Kontakt and make some money. It would be a first.

@John Vere But I don't want to click everything in the track. I want to click everything from a selected event onward, in a track that's a duplicate of another, but unlinked. That's the tremendous value of Shift-Alt-F6, or was.

I think that's kind of my point. If these are not meticulously sampled, for many this is beyond redundant. For me(and of course I realize others are not in same position), $15 is not a value for something I already have equivalent versions of. If someone finds value in it, I certainly would not dissuade them. I just could not find value for myself and was seeing if I was missing something. Thanks for confirming it's exactly what it seems to be.

Leftfield - Space Shanty

Thankyou Mark .. it's a strange thing that almost always avoids me from a balanced mix, in that I have a problem with my hearing on the the right, making some of my mixes a little heavy on that side, I am soo impressed on your observation not to say, also, a little worried,. I have to usually come to a finish point on an individual track or mix of, and then rely on meters to get the desired balance. Then playing it out with fine tuning ... on this I am afraid, I omitted my usual regime thinking it would pass ...But then I forgot how astute this site can be LOL .. Thankyou so much for the feedback and your observations Mr Skinner ... blinding feedback that's for sure 👍 Stay well Steve

Very nice - it sets a good atmosphere, and I love the reverse instruments

Spacemen 3 - 'Revolution'

This one was quite nice Wookie. I could easily zone out on it.

Thanks for your comments and listening. t @Larry T. Thank for listening and comments. I probably need to be more concise sometimes. @DeeringAmpsThank you t. Is it Tom? I appreciate you listening to this and your comments. @David Sprouse Thank you for listening. I noticed the strings a bit forward as well after another listen.

I've contemplated getting this in the past. I already own several snaps, claps and stomps libraries. What makes me still contemplate this is how it gives you a lot of control over adjusting claps. For those using snaps, claps and stomps in their songs, there's a freebie that I strongly recommend. It's from Red Room Audio (it requires the full version of KONTAKT): https://redroomaudio.com/product/snaps-claps-slaps-stomps-shouts/

The easiest way to slide everything is to create an arranger section covering the things you want to move, and move the section. When you left click the section it toggles events selection on/off, so make sure events are on when you move it. Moving an arranger section moves everything, including both tracks & bus automation.

I ALWAYS keep the installers. I always have the last 2 versions available, so that, if necessary, I can MANUALLY restore the previous version. You can define the Download path in preferences, and always keep the installers

Ooo! A chance to combine the links from that last two entries (and add fruit)! 😁