Glenn Stanton

something fun to make up lyrics to. write your own. remember halloween is just around the corner. or perhaps the upcoming election is scarier? wE'RE gOING tO dIE-Bus A.mp3

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...

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)

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...

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 🙂

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/

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...

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)

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...

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...

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

versioning like this: or perhaps more granular using "mix scenes"? or some combination of the two?

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.

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.

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.

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 in a little while

check in your waves central as to what the ID is that was the container - sometimes it's your network device which was in use when you registered, other times its the disk drive identity. if either changes you get the disconnect. i went with an inexpensive USB stick but that was not reliable, so i spent the $30 on a good one and it's been solid for the past 6 months or so. definitely will stay with the USB approach.

or something like that... 🙂

Buffer Bad Mojo © Glenn Stanton G-G#-Am(C-D-C) E9-D9-D9 Did I know it? I did not know But now you're sad And I say what? Cause what you see Is what you get The best of me The best thing yet Oh, she's got those Special Qualities Buffer bad mojo Buffer bad mojo Buffer bad mojo Buffer bad mojo Did you mean it? When you said it I heard you say-ay-ay-ay it Oh, the best things In life Are free Buffer bad mojo Buffer bad mojo Buffer bad mojo Buffer bad mojo Buffer Bad Mojo

yep, same here. it's not consistent in when it happens. i've had it happen on 1 track project just entering sections - so only a few minutes in and only the arranger edits, and i've had it happen on large (40+ tracks) projects where i've been editing for a couple of hours. one thing learned - crtl+s is your friend before touching the arranger icon...

getting a lot of artifacts - maybe somewhat due to compression but it seems more like edges of audio were clipped without cross-fades or simply silenced on non-zero passing. also, no much high freq so it's highly compress mid-range which impacts clarity of bit as well. could be mp3 format killing some highs. here's the waveform via RX-7

if you're dependent on external MIDI, invest in a good quality unit, the cheap ones ($5-$30) mostly use a chip (or two) which don't support most of the MIDI spec, or support it incorrectly. i've tried about 10 inexpensive models which were all rated decently and all failed to support all the protocols. i bought a secondhand MIDISport 2x2 on EBay for $50 and viola! problems went away. there are several small pro-grade MIDI boxes out there now. $150 or so. MOTU devices while pricing are also very nice.

yeah, watching the Waves series of pro mixers - there seems to be many times where they have 5-10 duplicated tracks that they "comp" for applying different effects likes echoes, stutters, hard tuning, etc. i was surprised to see even simple songs that have 4-5 instruments and 2-3 vocals having 50-60+ tracks. long gone are days like "Tapestry" with 9-10 tracks per song...

it's usually a balance of the thresholds, but with anything automatic, you're letting a computer make the decisions - I recommend you make a copy of the audio clip(s) so you can tweak them later... you could use the take lanes for the copy and then do any "comping" and make adjustments where the remove silence was too aggressive. another option is to use Melodyne to strip out noise artifacts or Izotope RX-7/8 to "fix it", and/or gate/compress it (or even all of the above).

a lot of folks like the 1176 for the distortion effect on bass, and tweaking the threshold will let you adjust the transient slope to some degree. i prefer a CA-2 type and RBass 🙂