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William W. Saunders, Jr.

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Everything posted by William W. Saunders, Jr.

  1. EDIT: Nevermind. Chuck-E already said it all. I just misread the beginning of his post. Chuck E has the right idea but I would also open the Tempo View and see if there are any tempo data points that are already entered in your template's later measures, especially at the second measure if that is where it changes . Be sure you zoom out all the way so you can see them all. You can then "select all" and delete them easily if there are. Or lasso them all with your mouse and delete them. Then save your template and you can start fresh and enter your desired tempo at the beginning of the project whenever you reopen the template.
  2. Try creating a custom "Entire Mix" configuration and saving it, i.e. "Jono's Mix." Then see if that helps. If you recall it and mixdown with it, it may remember that as your default instead of what you are seeing.
  3. I've haven't had this specific problem with Play but I have others that were cured by a reinstall of both Play and CW. But first: 1. Does this happen on all projects, or only on projects that already have instances of Play in them? 2. Does it happen if you insert play into a project with no other Play instruments in it? 3. Have you moved any folders around? 4. Does the Play stand-alone program work OK? I have found that EW support is pretty good and they will even do a remote diagnosis on your PC, at least they did for me a couple years ago. But they will probably want these questions answered too. Good luck, Bill
  4. I love Windows 10 and Cakewalk for music production. I would get yourself a custom build configured specifically for music. One very good place to do that is from Jim Roseberry who is always knowledgeable and up to date on the latest developments in computer-based music production. He has also worked with Sonar and Cakewalk for many years. He can turn you on and tune you in to the optimal setup for your needs. You will learn a ton just from going to his website. https://studiocat.com/
  5. Good work, team Cakewalk. I love the collective intelligence, intuition and experience of this group, and the fact that some real experts are still here to help us.
  6. The answer is YES and its a great little tool. It will copy all effects and other settings but NOT any audio or MIDI recorded in the tracks. (But you can always copy and paste those in.) Here's how: Select the folder and everything in it by clicking on the space to the left of the folder icon. Then go to the top menu bar and click FILE>EXPORT>TRACK TEMPLATE. The folder where your track templates are stored will open and you can name the exported template and save it. To bring the folder and tracks into a new project, go to the top menu bar and click INSERT>TRACK TEMPLATE Then the folder will open and you can select the template you just exported. When imported it will also recreate any buses that the tracks were assigned too , along with any effects that were loaded in them. Enjoy, Bill
  7. I had both the Aural Exciter and the BBE. They were helpful to spice up vocals and add sizzle when recording to tape. But ultimately both seemed to degrade the signal they were processing and really seemed like cheap tricks to just add high frequency. Once I got higher quality mics, digital arrived and highs weren't being lost on bounces and mixes, I abandoned them. Oh, now that I recall, the Aural Exciter ultimately sizzled out in a blue haze of very warm electrical smoke.
  8. When you say: "But when I move the fader it affects the level," do you mean the level of the sound or the level shown on the meter?
  9. I've never had or heard of this problem before. Does the waveform show for the whole length of your recording before you go back to start? Is there a corresponding *.wav file in the project audio folder which is the original length of your recording? If so, you might try importing that file directly into another audio track to see (or open it in another waveform editor). Another thought, but it seems it may not apply if its happening in new projects (unless you are using a template for your new projects): there is an option under Options in Track View to "Stop at Project End." See if that is enabled and uncheck/disable it to see if it makes a difference. Finally, a diagnostic step and possible workaround until you or one of the geniuses here figure this out - create a dummy track and import a MIDI track or audio file that is longer than your expected project, mute (don't archive) it, and then record your track to see if that makes a difference. Good luck, Bill
  10. My Onyx 1200F just gave out, but I've been using a Zoom UAC-8 as my primary and just routing the extra Onyx inputs into it via ADAT. I like the Zoom and it works well for me but since I need extra inputs I went for the Presonus Quantum which blazes at RT latency around 3 msec at 64 samples and now I run the Zoom inputs into it via ADAT. But it costs a $ grand and uses Thunderbolt, so you need to be sure you have a good MOBO with a thunderbolt header and a matching AIC card made by the same manufacturer. Thanks to Jim Roseberry for his encouragement and tips on this issue.
  11. Jim Roseberry said: <<<Do any of you remember the DAL CardD+? The first "Pro" audio interface for the PC. 😉 >>> Not only do I remember DAL CardD+, I still have mine! I was cleaning out some storage a week or two ago and I found it. It was such a great little interface when it came out, I can't bear to let it go. My first foray into computer audio as well as opening up and upgrading a computer.
  12. When mixing, I use some moderate compression, more for more percussive tracks, and occasionally limiting -- to get the track dynamic ranges in general harmony, without significant transient spikes which would overload. When I master I use a bit more compression, including multiband as needed, and then a limiter - just one - at the end of the chain. I haven't used LUFS scale but may try it. For both compression and limiting I use mostly iZotope Neutron and Ozone 8 Advanced. I also use the Cakewalk LP MB. Sometime I use the ProChannel concrete limiter on particularly frisky tracks when mixing, but not usually on anything like vocals or acoustic guitar.
  13. Thanks for the answers, gentlemen. I have been trusting my ears and have been happy with the results at -0.1 but I think that to leave a little more headroom for conversions, and avoid the scenario Craig pointed out, I'll start backing it off a wee bit. Regards, Bill
  14. What is a good safe level to set maximum output to when mastering for a CD? I've been setting mine pretty high at -.3 dB in Ozone8 (which is the default on its maximizer when using "Mastering Assistant"), but my new interface's meters show sporadic red at that level and the manual says I may be overloading the A?D converter. Any rules of thumb to follow? Should I back it down to -.5 or even lower? I frankly don't even hear any problems when I work at -.1, but then my 67 y/o ears aren't the best. Thanks, Bill
  15. Thanks guys. I too make a habit of saving the track and bus ProChannel settings so I can restore as needed. I've experienced the non-saved-settings issue but never the gross EQ anomaly on many channels at once. Luckily, it hasn't happened since and i do have the important tracks and buses saved as PC presets. Ciao, Bill
  16. Hi Bakers, It would save a lot of time to be able to resize all buses to a custom size like you can for tracks - by selecting all of them and holding the shift key while resizing one to the perfect height. Thanks, Bill
  17. YIKES!, Thanks for the advice, Steve. No, I would never take a hard tool to my Taylor, or to my 1975 K. Yairi. I cringe when someone wants to use a pick on them. Yeah, I'll just stick with the good old condenser mic and forget about shortcuts to the perfect recorded. guitar sound.
  18. I was working on a mix when suddenly everything sounded strange and my levels were way down. I checked everything and found that on all the tracks and buses where the ProChannel was turned on, there was a deep , wide -5.8 dB cut at 317 hz showing up in the low-mid band of all the EQ modules. I turned the band off on all of them but it was back on a day later. Only when I zeroed and turned off the band entirely did this stop happening. But it also happened on tracks that didn't even have ProChannel enabled, though it wasn't evident sound-wise. I was thinking maybe I had a bunch of tracks selected when I made a modification to one of the tracks and inadvertently adjusted them all, but none of my tracks had a cut at that frequency. So, it's pretty strange behavior. Anyone else notice something similar? I'll report it as a bug if it happens again or if anyone else is experiencing this. Bill
  19. Hey Steev, How is much wood drilling/destruction was involved in the installation for the Fishman PREsys? Did you do it or have a tech do it? <<Taylor doesn't make pickups, and if you buy a low end Taylor you're going to get a low end pickup.>> My Taylor is koa (not low end) and I am pretty reluctant to do anything to it that is irreversible, but I really would like a better sounding pick-up on it and others have raved about the Fishman as well. <<scariest thing I ever did since getting married for the first time, which unfortunately didn't work out as I expected.>> (I have installed 2 wives in the past and neither worked out. Trying to uninstall #2 right now.)
  20. Why can't Taylor figure out how to make a better pickup - or install a third-party pickup that sounds better? I've tried several of their versions and they all suck to my ears. Very harsh. And I have some of the best ears. The very best ears.
  21. Some performers would benefit from some mild or even moderate to severe quantizing of audio. I have a friend/client that I have played, written and recorded music with nearly 50 years whose timing is awful (he knows it), but who is a very creative songwriter and musician. Unfortunately, almost all my audio quantizing efforts have had inaccurate results and/or unusable artifacts. My solution is to have him do multiple takes, often a section at a time, then choose the best sections and make a composite track out of them. But even then, the best takes may still need a lot of work which I do manually, cutting, pasting and sliding small sections, one at a time. This is much easier with vocals, drums, bass and lead guitar than with polyphonic keyboard or rhythm guitar parts. But I can sometimes get good results manually sliding polyphonic notes/chords in Melodyne. I DON'T try to hit every beat 100%, but I like to get close enough that it sounds right. Is this a big waste of time - yes, but I love his music and the results we get, so I persevere. I won't tell you how much time I spend fixing my own sloppy musicianship. Good luck, Bill
  22. The impulse route sounds like an interesting idea. I like the iRig Acoustic too, but I find it a bit boxy so I blend it with other sources, depending on the material. Sometimes it goes well with the DI turned way down. But, as noted above, blending sources involves dealing with phase issues. I've spent many, many hours trying to solve the harshness problem noted in the OP's post. My $4000 Koa Taylor's pickup sounds horrendous as a DI (unless I am just gently finger picking). even through a nice Avalon or other DI preamp. In the end I have found nothing beats the sound of a properly aimed condenser mic, at least with my acoustics.
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