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Mark Bastable

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Everything posted by Mark Bastable

  1. Hey, been there. Was there in May, actually. This thread (linked below) goes off at tangents, but it’s about exactly your problem. I’d take a look especially at Bitflipper’s long post on DPC and my summing up (and its addendum) towards the end of the thread.
  2. I'm going to add to this - again for the possible help it may be to future newbies - and I'm going to do it despite being embarrassed at having worked out what (at least part of) the problem was. Brief re-cap..... First project ever on CW. Lots of pops and clicks. Tried lots of stuff (see above). Cured it mostly. (Ditching ASIO4ALL seemed to have the greatest effect.) But still got pops and clicks sometimes. Noticed, over time, that it seemed to happen only on that first project. Thought it must be one of the VSTs or something. Took them all out. Still happened. And, what's worse, I started to anticipate when it would happen, because it always happened in the same place. (Hands up those who are ahead of me.) This is what I'd done.... I'd recorded two audio tracks of 'real'guitars. Because it was my first digital project, and because I'm used to working with tape, whenever I'd made a mistake, I'd just dropped in using Autopunch. Not in a new lane - just on the track, as you would on tape. And I'd made a lot of mistakes - because I wasn't used to being my own engineer, and I was stressed using the DAW. I ended up with very many clips of audio guitar on each of the two tracks. So a lot of the pops I was hearing were 'unblended' joins between clips. All that noise wasn't latency. It was ignorance. ....ah, well, there. I've owned up. I feel cleansed.
  3. Ah, right. Gotcha. It hadn't occurred to me to select the tracks in the project itself. Wrong mindset. ...this is why we have UAT, of course.
  4. Ah, I've answered at least part of my own question. If I collapse the Mix and Render panel, there's room for the sources panel. So now the my issue is one of understanding the functionality. I can't check or uncheck some (but not all) of the boxes in Sources, but I can in Tracks and Buses, and that dominos back to Sources. What's the purpose of each of those panels?
  5. Not sure whether this is one problem or three.... 1. The Sources dropdown doesn't seem to work for me. (See screenshot) It's a narrow strip that will scroll only to the very top or the very bottom of the list. I imagine it ought to display the whole list of tracks. 2. Maybe because of that, the checkboxes don't respond to being clicked. Or at least some of them don't. 3. It doesn't appear to display all the tracks that are in the project. But maybe it would if issue 1 were solved. Or am I missing something I should have done? Version 2021.09 Build 141 64-bit, running Windows 10 on a 16" laptop less than a year old
  6. The open and closed hi-hats on bars 1 and 2 are good. The hi-hats in 3 and 4 are not. So I select the hi-hats in 1 and 2, and with CNTRL held down, I drag a copy to 3 and 4. Trouble is, they overlay what’s in 3 and 4, rather than replacing it. There must be an easier way to do this than deleting the 3 and 4 hi-hats before copying 1 and 2. There’s a parameter in Settings>Editing to ‘Replace’ but that seems not to apply to Drum Grid, ‘cos I’ve tried it I’m pretty sure this crops up in one of Mike’s vids, but I’m hoping that asking here will be quicker than skimming three or four of those, instructive and entertaining though they are.
  7. ...the next link has to be 'very enthusiatic tambourine guy'.... But please not that deeply unfunny 'more cowbell' bit with Will Whateverhisnameis from Saturday Night Live....
  8. So is the connection there Reid > Ride?
  9. Thanks for this. The IOS one.....the link seems to suggest it's for iPads. Can one use it on an iPhone? Also, it doesn't seem to be on the App Store, but I can't see how it can be downloaded from the linked site. What am I missing?
  10. EDIT Entire post cut because it wasn't as funny over cornflakes as it had been on the far side of two bottles of wine....
  11. I just want to stick my hand up here and say something encouraging... Six months ago, I was where you are now. I was new to DAWs and nothing - nothing - would work like it was supposed to. Every single step was painful. Every solution I tried seemed to balls up two other things it had taken me a week to get right. It was very, very frustrating and discouraging. It's hard, and I still don't understand why it has to be. No, I do. It was a combination of lack of knowledge and understandable impatience. But it passes. And here's the good news. You're in the right place. I spent a small fortune on a Cubase licence, and could not get my head around it. Looking for help, I went to various Cubase forums, and I didn't feel at all supported or understood. I felt stupid, is what I felt. I switched to Cakewalk because I discovered the brilliant videos of Creative Sauce, and they made sense to me. Having made that switch, I joined up here - and I was not made to feel stupid, even when my questions and struggles were quite....well...basic. So, this is a little aside to express my own gratitude for this forum, and to assure you that what you're going through is not that unusual, and that everyone here understands that. ...okay, that's the end of the sloppy bit. I shall go back to being my usual acerbic and unpleasant self.
  12. Like you, I arrived at midi as a guitarist. No. Actually it's worse than that. As a singer who played some guitar. Thing about midi, I think, is that it's really easy, once you've figured out the mechanics, to make something that sounds, y'know, pretty good. By which I mean, competent, acceptable, crafted, musical. The next bit, which is much more difficult, is to make something that sounds original, emotive, compelling, unique. And to achieve that, you have to do a whole lot of stuff that requires the sort of hands-on, inventive, self-critical hard work that - wouldn't you know it? - all creativity demands. And that's what I Iike about using midi. It's like having painted for forty years using the colours of the traditional spectrum, and then a new colour's invented. Your first instinct is to use it all over the place, splash it across every canvas, just because it's so cool and arresting. But, in the end, you realise that it's just another element in what you do, and so you have to figure out what to do with it - and that's work. Some artists you know will create whole exhibitions using that colour as the main theme. Others won't think it needs to be there at all, because Michelangelo managed without it. You have to figure out how it can help you make the pictures you want to make, or provoke you to make something you wouldn't have made at all had that colour not been invented. ....I can spin pretentious metaphors like this all day. But you see the point....
  13. There are threads on this, but no recent ones that I can see, and the tech changes fast. Can anyone recommend an iOS app to control transport from the other side of the room when you’re hemmed in by mikes on your Martin? That’s all I need it to do - start recording and stop recording. Thank you…
  14. ….which brings up an interesting development idea. Thinking aloud here…. If manufacturers stick to the convention, it must be possible to produce a damn-nearly-universal drum map. And if you can do that, it should be possible to create a ‘just change the unusual things’ GUI, to map the bits that differ from one VST to another. But, then again, the manufacturers know where they’ ve modified the convention, so they could provide that map, or just the delta. So the map could be part of the download. So it could be loaded in the DAW with the VST. So Drum Map could replace Piano Roll as the default midi editing mode for percussion. So why are we managing Drum Map libraries and explicitly invoking Drum Map use as an Output assignment? …or have I missed something?
  15. Ah, so there's a convention that they tend to stick to. That helps. Thank you.
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