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Royal Yaksman

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  1. ^Is this the reason some people think a line has been crossed?
  2. What could make Larry part with his "desert island" plugs?
  3. I just tried your steps a bunch of times and could not produce the same result. All the beats of the new bounced track were as expected regardless of the pro-channel being off or on. What is weird about this is that normally if fx create a timing problem, it is a problem of latency. But your bounced track is occurring earlier, which is peculiar indeed. I can see that you have an input of Drums selected for the original recorded track. What is that input device, is it a drum machine? All I can think is that perhaps the devices settings are conflicting with the bounce? Have you tried disabling the input and then seeing if it bounces to track correctly?
  4. My strategy is to panic, freeze up, stay frozen until BF is over and not part with a single cent... Uuuhhh... Neeerrghhhhh... Stupid still working limbs reaching for wallet, I said FREEEEEEEEEZE!
  5. I bought a synth the other day and had not even checked it out yet. This fact suddenly hits me. So I load up the synth in Cubase and whilst I am at I figure I should check out my newly upgraded Octavox. I add Octavox to the audio insert of the synth and then leave the room to make a coffee. Upon returning, I am half chatting to a friend on messenger, half reading emails and had almost completely forgotten what I was originally doing. I see the Cubase icon and remember, "Oh that's right. I was gonna test out that synth!" So I pull up Cubase and push a few keys in the PRV editor (this makes the chord options take up most of the display in the inspector, so I can no longer see the inserts tab.) The synth makes a bit of a strange noise, but I figure it is just the default tone. I open the synth's browser and select the first pad preset, figuring I will push a few of the chord pads in Cubase to really hear how this thing sounds. Whilst it was an interesting tone that met my ears, it was a little weird. Not my cup of tea. So onto the next preset. Push a chord pad. Hmmm, this one is weird too. Next preset. It is kind of funky but still almost sounds out of tune. Next preset. Errff what the hell is wrong with this thing?!! Did I accidentally hit the master pitch?... Nope it's at 0. So there I am scratching my head for like 20 minutes, thinking this new synth is a POS. I was even about to google whether that synth has any known tuning problems in DAWs. But instead it turned out I am just a moron and Octavox can definitely make some weird sounds...🤪
  6. Same here. It took about three days for Izotope to respond. And as for Groove 3, I too waited for that $79 renewal offer and it never came. All they offered was the standard sale pricing of $99.
  7. MPS 3 was released on the 3rd of October, so the 7th of August should be within the 2 months grace period.
  8. You might not believe this, to be honest even I can't fully wrap my head around the fact that I actually found something useful on Gearslutz. But yeah, a guy on there was saying the grace period is 2 months. So I took a shot and contacted Izotope support. I received the following message in response to asking if the grace period was two months: "From: Alexis (iZotope) Hello, Thanks for reaching out to us, I will be more than happy to help you. The answer is yes! I am happy to share with you a Serial Number to activate a copy of the Music Production Suite 3 at no cost!"
  9. My account was only showing the standard loyalty upgrade and whilst I almost hit purchase on the upgrade to MPS 3. I held off because I was a bit miffed that I had only just got MPS 2.1 about two months ago. Well I'm glad I didn't pull the trigger, because guess who fell into the free upgrade grace period?... THIS GUY! 😎
  10. Glad you got it working in the end! But wow I'm a little surprised at the rigmarole as Corel programs have always worked for me on my systems.
  11. It all ran smoothly here and I am running Windows 10 as well. I would recommend running the installs with administrator privileges.
  12. The point of me posting that video has nothing to do with cool. Quite frankly I thought the whole thing was ridiculously unnecessary. Though I am sure even the artist is aware of that. But I posted it because there is no way in hell the sound in your room could even come close to the wind on that lake and yet he got a fairly clean signal. I know that you did not specifically request technique tips. But for sure whilst you can compress on the way in, there will be less you can do with the captured audio in the mixing process as a result. Lastly, you say that you do not aim to clip, but are intent on continuing to employ a practice that you know will result in clipping?...🤪
  13. I would just like to say that if Andrew Huang can record vocals on a frozen windy lake, that there has to be a better solution than aiming to clip and letting an analog compressor munch up the peaks. (11:42 shows the signal from the vocal mic.)
  14. Like others have said, it would be better to record at lower levels. I realise you said that this causes issues during mixing in regards to room noise. For that I would recommend investing in something like Izotope's RX7 or Steinberg's Spectral Layers 6. Both products will allow you to isolate room noise from the vocals. Although note that often entirely removing room noise does not sound as natural as simply lowering the amplitude of the extraneous/problematic sounds.
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