Royal Yaksman

The funny thing with this kind of stuff is whenever an individual is administering their own tests, they say it's blind and then somehow wind up (mostly) accurately picking a difference. Yet when the tests are administered by a 3rd party and are truly blind. They somehow fail miserably, or pick a difference one day only to be fooled on another day with a similar actual blind test. This is codswallop in its yawningest form. I thought about ending it there but for those wondering why I consider this the yawningest? I consider it such because even the people who say that it is better to have the highest quality before it is mixed to mp3 are off base. As the only frequencies that are going to be effected by the oversampling are frequencies that cannot be played back in high quality by the POS listening devices that the end user is going to be using. But please by all means impress your audio buddies with your 1TB project file.😁 Which actually begs a question! Do these people try to share projects? "Yo dude I just sent you a link to my drop box, you're going to need to start downloading this morning if you hope to start adding to it this afternoon..."

I don't think tracking audio higher than 44.1 gives any audible differences worth chewing memory up. The differences at 96 or higher are mostly in synths that benefit from oversampling. Craig did a good article on it a ways back: https://www.soundonsound.com/techniques/sonar-upsampling-plug-ins I personally think audio people need to stop wasting time when they hear minor differences over expensive speaker systems in properly measured studios. Why?... Because normal people aren't listening on speakers like that. That teenzy bit of extra high end detail isn't going to be heard by 99.99999999999999999% of people, so it's like peeing into the wind and thinking you're responsible for creating rain.

Ha! So I had always just deleted a stub when comping, so I didn't have any idea what some of you were talking about. But I just tried it then, that is the recording of more takes after a stub cut off and why does it spilt other takes like that??? Totally get it now! Record needs to only effect a new lane and shouldn't be splitting in line with previous lanes, it makes no sense.

I actually just completed a cover of John Cage's 4'33" using nothing but Cakewalk. What are the chances that this could be your showcase piece?

Are you certain that two weeks is enough time to ready for sale a bunch of products that have existed for years?

I wonder if both sides could be appeased by giving some new functionality to the comping tool? Right now if you select the comping tool, it only works on takes in lanes. If you hover over a normal track (non take lane) with the comping tool selected, you don't get the option to use the tool. Perhaps the option could be added to the comping tool, so that if you select it and try to click on a non take lane clip, it presents a pop up that allows you to select which tracks you will be comping and the output destination of the final composite track. But here's the thing. It doesn't automatically group the selected tracks into lanes. It keeps the selected tracks as individual tracks and gives you the power of comping on standard tracks, albeit with creating a new track to house the new composite. This would allow people to retain any envelope information and maintain any fx or editing choices if they decided to move clips around the track view. Essentially it would give two options for comping, one being the established lanes comping and the new (somewhat old) functionality being tracks comping. For simplicity I think a way to think about this could be similar to ripple editing. Where when you are ripple editing, you turn ripple on, complete your ripple edits and then turn ripple off. Likewise with track comping you could turn track comping on and from that point any selections, splits, clip movement etc. is all non-destructive, you create your composite (or multiple composites) and then turn track comping off. Another thing this method of track comping would allow is easy creation of glitch sequences from tracks or instruments that were not recorded at the same time and they wouldn't even have to be the same instrument as you could select any track to comp with any track.

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