razor7music

Soundcard/interface would have been my guess too.

That's awesome! Congrats!!

This would actually work, theoretically. I only say theoretically, because I'm not in studio right now and can't set it up to test it out--but it makes perfect sense. On the lame responses of how to contort you whole studio so someone can justify saying 'CW already does that" sounds like we've both been there. That is the sole reason I did not post this in the Feedback Loop forum. Nuff said 😉 Thanks for the response!

I agree that there aren't a lot of details in the Wavelab link I posted. I think one of the things I like most, and I can't see how this would work in CW, is that in WL I can access my speaker selection setup regardless of the project I'm working on. It's not project specific. Here's a use-case example. In CW console view, I may have some tracks route straight to the HW outs, as well as some busses routing to the same HW outs, and of course the master routing there too. With a large project, I might have 6+ sources routing to the HW out. That means if I want to switch from a HW out that connects to my speakers (outs 5/6) I have to visually locate each source track and buss and master and switch the HW out to 5/6. Now, I've made my mix tweaks and I want to switch back to my HW outs for headphones (outs 1/2) I have to find those 6 sources and switch them all to 1/2, etc. The less time between a/b for me the better. Just to be clear, this isn't a complaint about CW. I know WL is a different animal, which is why I have both. I just really like the speaker configuration in WL and wondered if anyone else would find it useful to have something similar in CW. Thanks!

Horse power? he he

Thanks for sharing this. I still regret cancelling a show because the club wouldn't let our underage background singer in. I was standing up for my band instead of standing up for our audience. I lost sight of the show must go on mantra. That was over 30 years ago.

My day job is at a data storage provider. My drives could fail 5X over before I'll run out of space!! (which is both cool and scary at the same time!)

Would be cool though!

That's cool! Did they have a porcelain one too? You know, for after lunch!

Looks like it took out half of your horse too

Wow! I had one of those exact same models!! Those were fun to program! A couple of suggestions: 1) Recording from the RX-7 will definitely "date" your music. It will make the whole track sound dated. 2) The MIDI mapping may be different in CW. Try clicking each "note" you plan on using in CW and see if that is the instrument you want played from the DM. You may have to create your own mapping to make sure the "notes" match up in the drum machine and in CW. Just curious, why are you wanting to use a DM instead of creating drums directly in CW? It's much faster, easier, and forget about making corrections later on. Hands down it's better in CW where you have a visual of where everything is.

Well, I don't do orchestration, but the inserting of silence between the "notes" seems like a long way around just selecting the area between the notes and hitting delete, if you want complete silence. Maybe I missed something. Also, why record in stereo if your final goal is mono? Just record in mono. Lastly, there is no 'one size fits all' when it comes to music (or any art form). If you think something works/sounds better doing it a certain way, then do it that way. I remember years ago when I was in the biz, I would read most of the articles in Mix magazine. I remember within the same edition one successful producer said EQ always comes before compression in the signal chain, and in another article another equally successful producer said compression always comes before EQ in the signal chain . I started to realize, we all put our own little twist on how we do things, and that's what makes it art! I'm sure if you search YouTube you can find some great tutoring. That's my .02c

Dang it! 😉Well, then Paul is definitely missing his left index finger--or he is the original inventor of the piano key 'flick' method.

I'm not sure what your budget is, but you could setup a condenser mic with an omni directional polar pattern option. That way you don't have to use a really cheap headphone mic and once you recover, you would have a good mic to use. Agreed that lying on your back will change your sound. John Lennon laid on his back for a song on Revolution to get a particular sound - FYI. Here's to a speedy recovery!

In my OP I suggested a click of a button like in Wavelab to select a different listening option. Surely that would be easier than a hardware solution. Right?

Um, sarcasm doesn't play nice with text, so I'm not sure the error was so obvious I got some sarcastic responses--but last I checked Ringo was a drummer--not a guitar player! 🚱

OK, here's some Floyd personal trivia for you... I grew up in the San Fernando Valley where there's a high percentage of folks in the entertainment biz. One of my friends from school's dad was William Bell of Bell records. The label the Partridge Family recorded on. Remember the big complaint about how industry people always got the best concert seats and how unfair that was? Well, William was one of those dudes and he scored my friends and I section 1, seat 1, etc. in the risers for one of only two original venue performances for the Wall concert (LA & NY)! If you understand the concert theme, at some point of the concert, your view of the stage may be obstructed by the developing construction of the wall. What my friends and I did was sit in the floor seats in the empty ones. Then, when the seat owner came, we moved to a new seat. Once all the seats were taken, we went back to our own seats and booted the people out that were sitting there. We ended up seeing the concert from multiple, awesome perspectives, and yes, it was one of the best concerts I've ever seen. We spent weeks listening to the album in preparation. It was amazing! Sad note. I gave my concert program to a friend to design a silkscreen master and never got it back! But the memories are still there!

OT: OK, Beatles fans--what's wrong with this picture?

The whole mining concept alludes me. I don't understand where the "value" comes from. Are you just providing a computational service and you get bitcoins for your efforts?

Sounds like from this article, most if not all of the culprits were from downloading cracked software. Did I understand that right?

I had a reason when my studio was built, but it was about 8 years ago and I'd have to take some things apart and move them around to see the routing configuration to remember why. I have a very small (packed) studio, with very ambitious cable management--so it's a lot harder than it might seem!

Thanks. It sounds like you agree it would be a good feature to have, but you've found a workaround since CW presently doesn't have that feature. My audio interface is an Echo Layla 3G and so my headphones are connected to the front panel of the interface where I record and playback on the interface's IO 1/2, and then my monitors are connected to the interface's outputs 5/6. I want all FX and routing, etc. within CW to be identical regardless of the HW output. How would I configure your workaround in my scenario?

Hello Group-- I use Wavelab for my mastering, and it has a feature called, 'Speaker Configuration'. Basically, I can setup which output I want to switch between, say headphones and my studio monitors. It's very handy to be able to quickly switch between speakers. In Cakewalk, I have to switch my hardware outputs manually (yes, I can hold ctrl and do multiple at once). It would be very handy if CW had a speaker configuration feature so with the click of a button I can flip from one speaker setup (or headphone) to another. I haven't had great responses from the Feedback Loop forum, so I thought I'd get your input here on whether this is a good feature request, or if there is a hack you figured out where this isn't necessary? Thanks! Stephen

I don't see if this was covered, but are you miking an amp for your source, or are you going directly into your interface and then just using an amp sim plug-in? The reason I ask is that I was only miking my amp as a source until recently. I have a vintage Boogie amp that needs repair and I don't have the extra cash to have it fixed right now, so I started recording my guitars dry through a tube pre-amp, DI, and then using amp sims. What I found is that I can get a better tone if I use the amp sim plug-in's EQ (tone) adjustments rather than trying to adjust my EQ after the fact with another EQ plug-in. Don't ask me why, I can only speculate (maybe if the EQ isn't there in the amp sim output, you can't boost it after the fact) Also, if you use more than one guitar, try your pickup selectors on a different setting than each other, and maybe change the phase on one of the guitars in CW on that track. Just some tricks I'm using.

If you don't click after holding alt, you don't see the cusror turn to a double arrow and you can't move the buss.