Jump to content

Glenn Stanton

Members
  • Content Count

    581
  • Joined

  • Last visited

Community Reputation

292 Excellent

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. maybe use the old 60's trick of the invisible guitar. record the electric performance, then record a second using an acoustic. then mix the acoustic in just behind the electric so it's almost audible. adds a bit of brightness and body (presuming the acoustic is recorded that way) to the electric without seeming like there is an acoustic at all. and sometimes, this is useful in reverse for acoustic songs, a bit of electric can add some mids and articulation (presuming you record it that way) to the acoustic without being obvious. both a separate tracks and acoustically different enough that you should have minimal phase effects even when using Haas tricks and so on.
  2. faster internet? i have 300mbs fiber and its almost instant 😉
  3. if your snare is disappearing, it may be a case of frequency masking - what instrument when we squash the range is now the dominate frequency which is causing the compression to trigger? for example, if your guitar is substantially the same frequency as the snare resonance, you may find the guitars constant audio versus the snare transient is causing the compression (or limiting) to squash everything and the snare transient gets lost. side chaining a dynamic EQ or compressor to lower the volume slightly on the offending instrument (assuming you don't want full time EQ cuts or volume reduction) could be enough to duck the guitar and let the snare transient though. sometimes a multiband compressor can help. or as Will pointed out a few posts back, multiple things may be needed to get the balance right. in some old school mixing, there are the attempt to get 1 thing at a time to come through at the top. be it vocal, solo instrument, or band. imagine everything as serial notes and only 1 makes it to the top or is played (some jazz genres are like this) at a time. this all will be at the right level at the right time. much harder than it sounds 🙂
  4. as far as i know, there is no specific "spitfire" plugin, there is LABS and (for me at least) the BBC Orchestra (Discovery Version). i don't see a "spitfire" plugin anywhere, on the name of the content i'm using, or the LABS.
  5. maybe the export should include options for including project name, track name, clip name, and track number so people can select how they want exported files to be named. i would go further and add tempo (or avg), sample rate, bit depth, stereo/mono, and time code as options as to make it more compatible with the Grammy file naming specs.
  6. maybe an export option "Selected Clips Only" and the "Entire Mix" would automatically assume All Clips to be exported.
  7. hmmm. i have the DISCOVER package under My Products: and under BBC Orchestra in Orchestral category
  8. quick and dirty backing track i haven't gotten to vocals or elaborating the end lead solo no Third Sun from the Rock yet... 🙂
  9. since HDMI carries both video and audio, i know when i plug my laptop into the TV via HDMI, the HDMI shows up as an audio playback device. before configuring, my audio would switch to HDMI and if the TV volume was muted, no sound. so selecting the playback device in the Windows setting and also in CbB let me use my normal USB audio device while still using the TV as a monitor.
  10. is the installer asking for the VST path or the sound file path? when i install it, the VST goes to my default (C:\Program Files\Cakewalk\VSTPlugins and i select D:\Cakewalk Content\Audio Library\Spitfire for the data/sound/etc files. maybe re-run the install and use the defaults to verify?
  11. did you check your Windows and CbB settings to ensure you're not trying to use the HDMI audio instead of the Scarlett?
  12. interesting. i had seen a old mastering video (like back in the early 2000's) where the engineer using outboard gear use the automation in SAW (an older DAW product) to do several iterations where each pass has some different tweaks to the gear. so maybe some EQ and light compression, then more EQ, then some more compression and some reverb, then more EQ and limiting. today i just get a really clean output on the CbB WAV export, then run it through a chain of Izotope Ozone 9. if the master is not balanced, and i can't tweak it with MB compression or dynamic EQ, i go back to the mix and correct it, then repeat export and Ozone.
  13. no preset, but i noticed while editing there is some "sticky" to the second window note selection... this is a very handy workaround!
  14. also consider slightly raising the input level (or output level) but raise the threshold to say -6db, and yes adding some multiband compression (looking for 2-3db GR) may be helpful as would be removing any really low frequency not really needed.
  15. the the case from @Light Grenade, i name my audio tracks "I01 Kick" "I02 Snare" "I03 HH" and MIDI as "Z01 Drums" "Z02 Bass" etc so i can use the track sorting function within CbB. and then when i export, i get "projectname-trackname-tracknum.wav" which - strip out track name with the StEx rename function: and if i need to i can strip out the I0# bit as well using the same regular expression. pretty straightforward. but then i lose the sorting by numbers... 🙂
×
×
  • Create New...