Will.

Do you experience the same problem with any other Plugins such as with VST 2 effects and plugins? Nexus 2 did the same in 96000

I'll be working with him for the next couple weeks. So I wana know should I carry on working in CbB at his studio (I'm more comfortable with Cakewalk than with PT and STOne - that's why i'm preferring to work with it.) Get the job done quicker and easier.

With that being said: I also don't want to go and be troublesome in the production if certain thing he has don't run smooth in 96000 with CbB. 

25 minutes ago, Kevin Perry said:

Sorry- I forgot that oddity.

Yeah. Me too. 

2 minutes ago, scook said:

Easy to do.

Running TTS-1 at 96K is a pain.

This is true. 😂 It really is a pain. 

Thanks for the feedback. I'll give this another next time.

We used his wife's laptop to extract the snare and drum  I needed from it at 48KHz-24bit. Threw it on a USB as a wave file and transferred it like that. 

I'm at a fellow mixing and mastering engineers studio working on a few material for clients. He has a decent dedicated home studio setup.

This guy is obsessed with Presonus gear. 

Question: Does anyone else having trouble with a sample rate of 96KHz with the Presonus USB96 interface in Cakewalk? Have to add that he doesn't use CbB as often. His go-to DAW is obviously PT and the Secondary DAW ST-One. 

I'm here working on a collaboration with him for one of his clients. I was trying to get some Drum samples to use from TTS-1 that fits this song specifically and at this sample rate its distorting like crazy. I could change things down, but he don't want me to change a thing on the system (Sitting next to me reading this as I'm typing.)

 Not only is it the stock plugin, but some other effects too - mostly Vst2 plugins. I have checked and Double checked every single setting in CbB to make sure it's sync with that of Windows 10 and the Presonus 96interface drivers settings everything checks out as it should. 

Obviously there's no issues in the other two DAWS with the current sample and bit rate. 

So does anyone else have this issue at this sample with any plugins with that of Cakewalks DX plugins and any Vst2 and Vst3? 

6 hours ago, Michael Fogarty said:

so many things I don't know, or at least question. Though recorded in mono, the drummer just sent me all his multitracked snare, snare bottom, hi-hat kick, etc as stereo tracks. If I import them as mono and delete one side, am I getting a true mono signal as pure as the original? Or should he re -send?

The real answer would be to leave the files as is - after all they are in Mono. The reason why this shows up as a "stereo" waveform comes down to how the output was rendered. This waveform is just a display with the material still in "true mono." The Input to this is what you want to focus on.

Like the other member said,  you have an option to convert the file to "mono." BUT AGAIN: I wouldn't do that. 

First of all: As you will notice if you render these files  - it adds an extra +3db increase in volume. This comes with its own problems. 

1: You decrease the headroom of the original recording.

2: Potentially introducing artificial effects by collapsing the two channels to one on a waveform that is already in Mono just for a "Visual" purpose.

That's what converting a stereo track to "MONO" is. You're bringing the two channels centred by merging them together. 

Think of it this way. Say for reason you were recording the same instrument in two separate rooms. One in a dry room for the LEFT CHANNEL and another in a lively wet room for reverb to the RIGHT CHANNEL, where this is the intended effect.

Question: What's gona happen if you merge them to mono?

Answer: The right wet room recording will over power the dry Left channel by drowning it out and increasing the volume, by placing the right channel ontop of the left. Which leaves you with only one wet "roomy file" instead of having the two separate files with space and depth to it. Try loading 15 people of different age and size in to a Mini Cooper. So this you would want to avoid when receiving stems. ☺

If its playing back centered infront of you and nothing on the sides irrespective of what the waveform display - it's in mono. 

On 8/4/2021 at 2:23 AM, Olaf said:

I've seen the same crashes, errors, etc., reported by several people, on different occasions, and people using the same stuff reporting no problem, which is weird. it's almost like talking about two different programs.

i've recently seen a forum comment of someone talking about switching from intel to ryzen amd. he said the new processor outclassed his former i9, but after the change he started to experience crashes he never experienced before - welcome to the real world, right? 😝

i'm starting to think there's a connection.

Stay as far away from those 5000 series. They're a real pain in technology. It's only good for games - though there's been complaints from certain gamers too, bringing this to light. These complaints however, does not come close to those from graphic designers, video production and that from of course -  music producers. 

Experience is pointing directly to a Plugin. I have the issue from time-to-time on occasional updates - can't pin point to why this happens. 

If it does it again: Leave it with the noise -  remove and re-insert the plugins (with undo) until you find the culprit. Then save the project without the plugin AS COPY - "2" when the noise disappear. Re-open the project and insert the same plugin again.  This should work - well, at least for me it does. 

3 hours ago, Glenn Stanton said:

faster internet? i have 300mbs fiber and its almost instant 😉 

Nope! I have a 600mbps setup. Definitely wasn't that. 

Phase cancellation is real. You will have to make a few cuts and shift them slightly to get them in phase. By the time you're done with this - a new recording could've been recorded that sounds way better and the real deal.

Search up on "Fake Stereo" to give you a broader understanding to why you might want to use it | OR | in most cases NOT want to use it. 

I personally avoid this. I stay as far away from it as possible. That being said: it does not mean that you can't do it - If you know how to properly deal with it. 

This thing  . . . 😭

Isn't there a quicker better way for this?

Click here:  How to create crossfades in Cakewalk

2 hours ago, OutrageProductions said:

I've noticed that too, however I rarely re-write my templates anymore. I probably change my key bindings more often than I change any project templates.

It's useful to have the "Bypass All FX" shortcut and especially the "view plugin" shortcut. I'd literally been thinking there must be something wrong with my O.S. for DAYS now. I even went as far and re-done my entire system - with this being one of the reasons. Now I know it's definitely not the O.S.

Thanks for confirming.

10 hours ago, Marcello said:

No I meant some analyzer, nevermind.

I have compared my master with the reference track I'm using (FLAC version),  I start understanding the problem here, look at the loudest part of the reference track (on TOP) and look at my mastered track (below). This is why is doesn't get loud enough like the reference track, do you see those spikes? peaks? Those are the snare and kick mostly, based on what you see what do you suggest?   I think I have compressed the drums enough, if I push the limiter more the snare basically disappears compared to the rest, it drawns below the other things. 

What would you suggest?

 

If you take in everything that was said to you here - you can have healthy Crest levels for any platform too. 

I just finished this project for one of my clients. Great Pop Rock song. 

Key binding shortcuts don't save when replacing templates. 

I have search for this, but can't find a thread for it. 

Option to have a "Plugin Search|Search Audio FX option" right on the FX Bin area by double clicking anywhere on an empty space in it | OR | by CTRL+Right Click (for quick access) and as an option available by right clicking and have it first in that MENU too. 

Reason:  Not every user make use of the browser to add effects or instruments/synths. My workfow is that of in place inserts - where i am in the project and not having to move away from that.

It's a quick workflow (Extremely important.) 

Right clicking in the clip view  to bring it up will be even more helpful too. 

+1

To bump this up. 

54 minutes ago, Marcello said:

Dont be discouraged by it. It's a learning curve. By the looks of it ,you're on the right track. ☺ 

TIP: Take this project and store it for a few days and start with a new project. It doesn't have to be a full project. Do a demo test with 8 or 10 tracks. 6 Drum tracks, 2 guitar melodies and try to find the levels that work for you without mixing it, that feels right and master that. Practice this on 3 demo's and once you're satisfied with the master level from these, do some demo mixing and keep and eye on youlean meter on every tweak you do on every thing and take mental notes. 

Return back to the current project create a copy of it and start the process over with the steps you've gotten from you practice runs. 

34 minutes ago, Marcello said:

No I meant some analyzer, nevermind.

I have compared my master with the reference track I'm using (FLAC version),  I start understanding the problem here, look at the loudest part of the reference track (on TOP) and look at my mastered track (below). This is why is doesn't get loud enough like the reference track, do you see those spikes? peaks? Those are the snare and kick mostly, based on what you see what do you suggest?   I think I have compressed the drums enough, if I push the limiter more the snare basically disappears compared to the rest, it drawns below the other things. 

What would you suggest?

 

There's no real answer to how loud a master should be. The general rule is simple if it sounds good and loud enough for you - all is okay. 

That being said: It helps to know what your aim was in levels with peak and gain while you were mixing. Are you looking at the peak level or the RMS level. Did certain drums or instruments used needed a gain and volume reduction or just its peak levels? The same principle that applies to EQ'ing, compression and limiting should be done with your levels too. "If its not needed - WHY?" 

Though, that's not a bad level. Don't rely too much on what is shown to you in a waveform. You just need to make sure it doesn't clip or distort and that you have a decent balance to it. If it sounds good on other devices - you've done a great job! That's how it is. 

There's no such thing as a perfect mix or master. Every monitor sounds different. Every environment a song was recorded, mix and mastered in comes with is own flaws. So dont stress to much on how it should look like. ☺

Great job! 👍

12 hours ago, Mark Morgon-Shaw said:

We're not in 1998 anymore Dorothy

Good for you Jolene. 

35 minutes ago, Marcello said:

Does anyone know any free plugin for distortion listening?

like Soundwaves Reveal plugin but that costs a lot.

You place it in the master bus and it will reveal any distortion caused by the limiter pushed too much, that otherwise you might not hear. For those like me who still have to develop the ears

Depends for what you looking? For guitars or vocals? 

This one is a must have. Click here.

And these serve different purpose Click here 2 Fuzz plus 3 is my personal favorite.

35 minutes ago, Marcello said:

Bloody hell guys I think I made it I have placed this saturation plugin  with one nob on my drums bus and now it sound much louder without taking too many DBs.  A practical solution also for you if might have the same issue.

https://www.softube.com/saturationknob?gclid=Cj0KCQjw6ZOIBhDdARIsAMf8YyFslTBECLawYGcU2KUyfDKEoeyWgyaNVTXyF18FNm_JwiBh9cmJmEUaAhF5EALw_wcB

Good for you! Right attitude you're having with this. Most guy's would have given up by now.

Do you know that this is build into the prochannel? lol.

19 minutes ago, Marcello said:

I agree with him,  maybe I'm starting to understand now, basically I should work on the mix rather than fixing this on the master.

Bingo! Now you're getting the hang of things. 

But the big question is: How do you understand the K-system? 

And I rest my case on what Craig Anderton said. 

1 minute ago, bdickens said:

I gotta disagree.

If you say so. 

2 hours ago, Marcello said:

Thanks Will.

I think I improved it a bit but I still have an issue.

There is a part of my song where the drums are more quiet and then an explosive part where it hits hard.

Since the drums were causing some peaks in the master, mostly kick and snare, I placed a limiter on the drums bus in the mix.

Now what happened is that the volume of the snare is a bit lower than before and is sitting back in the mix, is not anymore slammed as it was.

Also basically in the quiet part of the song, the snare remained the same volume so quite ok for me, but in the explosive part is actually lower in volume compared to the quiet part!!!

This because the limiter is attenuating the snare transient in the explosive part while keeping it normal in the quiet part, result: a lower volume of the snare in the explosive part which is not good.

Raising the snare volume or increasing the compression won't change much because the limiter is stopping it from peaking.

So I don't know what to do here, if I don't put a limiter my overall volume of the master will not be as loud as my reference track because if I raise the Master Limiter Threshold down to increase the volume the transients will cause a gain reduction over 4  or 5 db!

From my understanding in order to have a Loud Master without clipping and distorting, I should place limiters in the mix busses like drums or bass for instance so that the mix will sound louder but maintaining headroom for the master, correct? The problem is that if I use the limiter too much in the drums bus it results in what I just explained, so basically it mess up the song dynamic limiting the snare for instance where it should be slammed and not limiting it where is less slammed, so the snare gets low where is shouldn't be.

It's like a snake biting its tail.

LOL!

The advice Bitflipper gave you for that was top free advice. It's an old age trick. What you need to understand is: think about the old phrase "Why fix something that's not broken." What I mean by this is - does it need both compression and limiting or just limiting? Is your limiter on a drum or the entire drum track (assuming you have created you own drums.) 

With that being said: Next time you're doing shopping - listen to every sound around you. Take a mental note of how you hear things. What sits where and how you perceive everything - Depth! Learn mono and stereo placement | most importantly| >> what is SIDECHAIN and what's the purpose of the attack,release, ratio and threshold on a compressor. 

It will take you an hour to understand this, but without practice it wont mean a thing. Don't beat up yourself with your current project. Theres know real fixed advice on creativity. It can't be taught | and | mixing is all about creativity. What works now, won't work in a next mix. Every mix comes with its own new problems. You might need both compressor and limiter on drums now and just one of the two in the nex mix. That's why your ears needs to be the first plugin in your chain. 

TIP: Once you hear what you want to hear in your mix - write it down and move on to something else save the project and close the DAW. Take 10/15mins break from the project and go back to it and see if you hear the same as before. This will train your ears faster. 

On 7/24/2021 at 7:24 PM, Marcello said:

.The problem with my track is that if I set the true peak at -1 and set the Limiter Threshold so that the track won't exceed -14 LUFS integrated (as suggested on Spotify website) ,  it will sound too freaking QUIET!!!

No incorrect. Do more research on the K-System, but before doing another song learn "GAIN STAGING." Once you pickup on it - your mixes will sound better.