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Glenn Stanton

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  1. also, if you updated to v12 recently, you'll need to install them and authorize them. simply selecting update on the Waves site will not do it and it will move your licenses back on the license cloud...
  2. couple of quick checks - anti-virus excludes CbB? no Google BackUp or OneDrive (etc) cloud sync on your audio folder? both of these can easily cause problems when you have files and temp files constantly changing... i turn off all syncing and have my AV (Defender) exclude CbB EXE (which in turn ignores the associated files in use by that process)
  3. along those lines of cloud storage - i have the OneDrive and Google Drive clouds set up on my disks, but i only synchronize the project content into those directories so the cloud services don't mess with active files. then once i finish my project work, running the FreeSync app mirrors the new/updated content into the folders and i let the background cloud sync processes go to work... since it's mainly deltas once the new content is uploaded, the sync to cloud only take a few minutes. i think 1TB of OD and 1TB of GD are about $18/month total. really old stuff (>10 years) i just keep on removable drives stored away...
  4. i think that besides some OS bias, the review is quite good, and he's not wrong - the previous owners of cakewalk desires to market things, and simultaneously restrain the development team, has resulted in playing catchup for modern producers. His comparisons to other products should help jumpstart the team's ideas for next generation capability, i imagine that @Noel Borthwick has already read this review and talked to the CbB product owners about a roadmap 🙂
  5. ultimately 2.1 - it's really only a stereo field L-R. the center LFE channel is unused in my work and so, translation on other devices will require the same due diligence as any stereo output - masking, phase, etc all need to be checked. there are a number of ambisonic-style plugins which would provide a means of changing spatial relationships but the risks to stereo-only devices is effectively the same... https://www.ambisonic.net/
  6. may use the surround features? i like to use a 2.1 surround setup where the LFE is ignored. this way all tracks and busses going into a surround buss can have their width, depth, etc positioned. for example - i have a mono or stereo track feeding into a stereo buss, the separate busses feed into a surround "instruments". i could simple for from the track to the instruments buss to directly position it or add another buss (if say i have a pairs of acoustic guitars left and right comped which also need positioning in the surround space). tweaking the HF to changes it's apparent vertical position...
  7. yeah, there are a lot of challenges to versioning... (ignore the DAW specific bits) http://www2.grammy.com/PDFs/Recording_Academy/Producers_And_Engineers/PTGuidelines.pdf https://www.grammy.com/sites/com/files/delivery_recommendations_for_recorded_music_projects_final_09_27_18.pdf https://en.wikipedia.org/wiki/Wikipedia:Naming_conventions_(music) https://musicbiz.org/wp-content/uploads/2016/04/MusicMetadataStyleGuide-MusicBiz-FINAL2.0.pdf https://www.grammy.com/sites/com/files/folder_definitions.pdf couple more: https://www2.grammy.com/PDFs/Recording_Academy/Producers_And_Engineers/DAWGuidelineShort.pdf http://aesnashville.org/PDFs/NARAS/DAWGuidelines-OneSheets_v1.pdf https://www.waves.com/ways-to-better-organize-your-daw-mixing-sessions tracking worksheet: http://aesnashville.org/PDFs/NARAS/Session-Doc.pdf you practically need someone acting as a librarian and archivist to manage this 🙂 just in case all the engineering and creative duties aren't enough 😉 that said, i think in these links are some really decent ideas which if condensed for the "small guy", could be useful and made consistent enough for a broad base of people to collaborate without going nuts (or too late for that? lol)
  8. thanks! my "vocalist" is there as the antagonist, so she can sing out of key and make people uncomfortable even if she's a vocal snippet! LOL thanks to all on the feedback, like the green goblin, i took it back to formula to get the levels adjusted...
  9. thanks! the lead in the early parts is deliberately muted in the HF and volume as it's supposed to be backing the vocal (to be recorded). agreed, the rhythm is a bit high - i'll probably add some additional instrumentation to blend it all better, right now it's only 5 tracks total...
  10. one thing i noticed - the surround panner is missing in the diagram on the surround section box... probably needs an update... @Noel Borthwick 🙂 http://www.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Mixing.07.html
  11. versioning like this: or perhaps more granular using "mix scenes"? or some combination of the two?
  12. depending on the material, you could use the "process effects" to shorten the length of selected notes (say you have 20 notes) and reduce by 50% (etc) to eliminate an overlap (esp for percussion, bass, and triggered effects) where the shorten length is not obvious for impacting the sounds.
  13. i have the UMC1820 - it's very nice and the drivers support pretty low (6ms roundtrip) latency although for mixing you would want that way higher. preamps are good, and has decent headphone levels. it can extend to an ADA8200 8ch using the ADAT optical, and i'm using a optical to RCA (cheap on Amazon) to output the optical SPDIF clock to my internal 1010LT and 66 cards. i can't run all 20ch or so using native drivers, but can using ASIO4ALL. i do wish they had the 8 XLR on the front though... currently i breakout the back panel XLR out using some low-Z over ethernet boxes i made, but it would make patching easier if they were on the front. definitely recommend the UMC1820 for low cost and generally good performance.
  14. also - the Audio-Technica ATH-M40x ($99)(replaces the 40fs) or ATH-M50x ($150)(i own and use) - both closed back and both definitely do a good job of representing the mix. I have the M40fs which go for anywhere between $70-120 used, and those are my main headphones.
  15. some blues about the struggle to let go... In A Little While © Glenn Stanton [verse] Am7 - D9 - Am9 - E9 - D9 - Am7 - Am7 [break] D - D - D - E9 - D9 - Am7 in a little while, that's all that's left c'mon baby, cling me to your breast tell me you love me even if it's untrue 'cause in a little while, that's all for you 'cause when i go, it won't be like last time i tell you now, i've made up my mind in a little while in a little while, that's all there be oh baby, don't you do this to me you're heartbreak waiting to happen to me in a little while, you're gonna see 'cause when i go, i won't be coming back gonna leave you standing here, right by the tracks in a little while <break> she rock me in the morning she rock me in day she rock me in night got me wrapped so tight, i swear it's turning blue but come the morning time, i got something for you in a little while in a little while, when there's no more to say oh baby, it's of no use to beg me to stay 'cause in a little while, there ain't much more time 'cause when i go, and i ain't gonna lie for all those years baby, it's your turn to cry in a little while in a little while
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