fossile

technically, a de-esser is a dynamic eq 🙂 just one that has been configured for a specific purpose. and also more like a frequency-limited band compressor... depending on the brand and model...

@Noel Borthwick just did an experiment -- there is definitely a +3db increase when exporting the clips. pan law set to 0db centered created a sine @ 440hz -15db RMS (12-db peak) for 15 seconds .WAV import into CW (drag and drop) -- check levels = -12db export clip = -8.99db (this is the 3db increate) imported the exported clip - as expect now -9db pan law set to -3db sine/cosine imported clip - now -12db now export clip with pan law set to -3db same - +3db added pan law setting has no impact on the export or import of the actual clip. source file Cursor position (Time) 00:00:00.000 Sample value at cursor (dB) -Inf. Minimum sample position (Time) 00:00:00.019 Minimum sample value (dB) -12.000 Maximum sample position (Time) 00:00:00.030 Maximum sample value (dB) -12.000 RMS level (dB) -15.010 Average value (dB) -Inf. Zero crossings (Hz) 440.00 exported clip content: pan law set to 0db center Cursor position (Time) 00:00:00.000 Sample value at cursor (dB) -Inf. Minimum sample position (Time) 00:00:00.019 Minimum sample value (dB) -8.990 Maximum sample position (Time) 00:00:00.030 Maximum sample value (dB) -8.990 RMS level (dB) -12.000 Average value (dB) -Inf. Zero crossings (Hz) 440.00 pan law set to -3db center sine/cosine Cursor position (Time) 00:00:00.000 Sample value at cursor (dB) -Inf. Minimum sample position (Time) 00:00:00.019 Minimum sample value (dB) -8.990 Maximum sample position (Time) 00:00:00.030 Maximum sample value (dB) -8.990 RMS level (dB) -12.000 Average value (dB) -Inf. Zero crossings (Hz) 440.00

in the export dialog you can pick the export type as clips, i used {clipname} in the example - TRACK001 has CLIP001 and TRACK002 had CLIP002, and then exported. clips came out as named and types. note that the clip name is also in the underlying track lane so it may be possible to select a variety of clips from the lanes to export... would presume that if i exported the stereo clip as mono i'd still see the +3db -- so maybe this doesn't solve the problem -- not sure the pan law settings would be applied but conceptually you could set it to -3db center and see.

if you have Melodyne installed you could try that to see how it works. i've done some instrument pitch changes on guitar and vocals. with care the change is transparent. I have the studio edition so there are features in that version not necessarily available in less expensive ones. i also use it for MIDI extraction so i can replace instruments or vocals with instruments.

I generally agree - but my Q802USB has no ASIO driver, and the WASAPI does a decent job, but i've found the ASIO4ALL goes lower latency than the WASAPI and so i use it only to record. when using my main IO (UMC1820) then i use the native ASIO driver. 🙂 the biggest win (for me) was deleting all the bogus drivers installed by applications (some of which were simply rebranded ASIO4ALL) and only having the native WASAPI, my Behringer ASIO, and the ASIO4ALL (rarely used).

you could set the stereo buss to mono then drop -3db. the merging of stereo into a single mono is typically +3db (just the nature of db math...). i recently "re-discovered" this as i was doing some mono checks and accidentally exported as mono. then importing into Ozone the waveform was higher than expected (doubled effectively) and was purely mono... lol.

the vocals are actually from my original demo and i chopped them up and melodyned the crap out of them to get them to sound reasonably close. i was going to only use them as a reference and re-record them, but after listening to them, i thought, hey - these are kind of quirky in a good way so i'll leave them for now. mainly the only other effect was long delays on the "clean water" section and then reverb as part of the overall room. on the "viking march" at the end, the bom-boms - i used melodyne to drop them low and auto-panned them. i had done that in the demo and it was freakish so i had to keep the concept... in this recording - the instruments are all computer generated with some tweaking, except the solo. i used HookPad, Scaler, patterns, etc to create the tracks, and in HookPad where i used some instruments, i substituted some of those for other sounds. so when i started writing this song (or parts), it as 2016. then a close friend passed in 2018, and as i worked on it, i took some of the things that were part of our life experiences and shaped lyrics around that - our wiccan / earth magic beliefs, drunkeness / etc, blues music, etc and it seemed to stream together. i put the demo together (mainly played live on acoustic guitar and double bass) in 2019 but didn't really record it "proper" until late last year. Road To Valhalla (c) Glenn Stanton ------------------------------------------------------- 70 BPM "Breathe" Gsus2 - Dsus2 - Em - CMaj7 // Gsus2 - Dsus2 - Em - G7 - CMaj7 "Road" Em7 - Am7 - D7 "Dance" G - Em - C - D "Clean" D6(add11) - CMaj7 // C#m - Gm - F#m7 - Em - CMaj7 "Vikings" Em - Am // Bm ------------------------------------------------------- breathe in the air reach for the stars heal everyone and dream with your heart then the road to valhalla lies clear there's nothing left to fear oh oh i'll let bacchus decide how we spend the night Quetzalcoatl will call the tune as we dance in love around the moon Hera says that all is fine as i am yours and you are mine Gaia dances for all to see don't mess with her ecology cause i did hear a wiseman say please don't let it slip away clean water still matters clean water still matters bom-bom breathe in the air --- yes i know Quetzalcoatl is mispronounced 🙂

since i haven't spent much time on the internals of audio programming on Windows, this last post sort of sent me down the rabbit hole: https://learn.microsoft.com/en-us/windows-hardware/drivers/audio/low-latency-audio & https://learn.microsoft.com/en-us/windows-hardware/drivers/audio/ 🙂 lol. one note: if the ASIO driver depends on the lowly WDM then it explains why i can use the ASIO4ALL driver (which uses WDM) for very low latency captures (<5ms) vs ~5ms on WASAPI Exclusive or Shared (my Behringer Q802USB doesn't have a native ASIO like my UMC1820 does which has ~2ms), and after cleaning up all the other drivers (extraneous from Intel, Real, Magix, FL, Avid, Ableton etc -- seems everyone has a driver) off my laptop system, and installing my Behringer UMC and ASIO4ALL drivers fresh, i have no issues with audio on my laptop regardless of mode (other than i have to switch off the ASIO4ALL once i record something and go back to my normal WASAPI or UMC ASIO settings - takes just a minute of time to close the project, switch, reopen).

according to UAD, WDM and ASIO drivers are different - so it would be important to select the correct one - it sounds like you select the ASIO driver in CW but use the WDM version for Windows. maybe set the ASIO on for both? Using Windows WDM System Audio with UAD Hardware – Universal Audio Support Home (uaudio.com) https://help.uaudio.com/hc/en-us/articles/360051064291-Using-Windows-WDM-System-Audio-with-UAD-Hardware as far as UAD and MMCSS -- probably a good question for their tech support.

when i do use this technique - i use one of my -12db pink noise files imported into an audio track, output to master buss, loop it (make sure it has proper beat count), and set it to -13db - which turns out to be -14db overall. then adjust each track - initial set to 0, and each buss set to -inf. one at a time raise until you just hear it, then mute it and the next, repeat until all done, then unmute them and make some final tweaks before turning off the noise. most times i find the mix to be pretty close and now ready for some tweak via automation. one thing - after using noise, take a walk for some beverage or bio break before re-listening as the noise means you should "re-calibrate" your ears...

maybe document the steps you use to recreate the issue - intermittent issues are tough to solve 🙂 and then see if it's something the support folks could recreate on their end and thus be able to fix it.

Mixing To A Pink Noise Reference (soundonsound.com) https://www.soundonsound.com/techniques/mixing-pink-noise-reference

maybe describe the problem so people who don't want to download the video can understand what you believe the issue is? maybe it's something with take lanes?

i use a PRINT stereo buss which is fed from the MASTER via a pre-fader send (level=0) and its output is set to None. then in the export i select the PRINT buss instead of MASTER. I can set the PRINT level independent of the MASTER. The level for PRINT could be via the send or the volume on PRINT. Note that MASTER has a light 2-buss compressor w/ 2-3db swing on the meter for some light glue.