RBH

I read the specs for the Roland Go : Keys. I'm not completely sure that it is a true multitimbral keyboard. It's says it utilizes 8 voices in Loop mix and 8 voices for keyboard and it saves in Midi file format 0 . Which is essentially all channels on a single track. True multi-timbral keyboards typically use 16 discreet MIDI channels across at least 16 tracks and those tracks are assignable to which ever channel you wish. There may be way to get it to work for multichannel input - but I didn't see much for a manual.

I'm mixing reverbs a little too heavy on headphones. I think it may because I'm older and mixing louder - plus the proximity is somehow drowning out the verb wash. I'm checking against other environments and find myself saying little things like : " What the hell was I thinking? " and " You complete Dufus " you know- little constructive criticisms like that.

Thank you.

It's had continuity for about 30 years...... except for that one little hic-up.

There are times when the tracking mix needs to be radically different than the playback mix, I agree that maybe the best option is to alter the other tracks playback volume while you're tracking.

Marcello - There is a new forum created recently and specifically for production techniques. It would be great to ask questions there - so we can build the library of production related topics. Your post is a perfect fit. https://discuss.cakewalk.com/index.php?/forum/44-production-techniques-new/

Thanks for posting these. I'd like to try a few out.

I'm not at my DAW right now but I do think there is a switch that selects and deselects synching the scrolling with the host. I believe it's activated by default though.

Thanks - I like the Idea of trying the same approach via EQ. Though most of these competing tracks are already Eq'd out each others way for the most part. I'm treating this somewhat like an automated envelope generation - which works well because the lead vocal and guitar leads can be edited and re-arranged last minute. It's working pretty well with the Sidechain compressor input, but I would like to excersize the technique a little more.

Currently I have a couple of projects where I'm using a side chain assignment from multiple tracks to lightly volume reduce a buss track that is used for ganging a group of rhythm guitars. I'm ducking the rhythm guitars when Lead vocal and or lead guitars are present above a threshold. I'm using Fabfilter Pro c for this - and it's working out pretty well. Any thoughts or recommendations about using a more pure gain reduction plug with side chaining instead of using a compressor for this ? The release time on the compressor is useful for smoothing time transitions. I'm probably only reducing only 1 to 2 db. If such a thing exists - or is utilizing a compressor plug typical ?

I would buy CbB again - no question. I've tried most of the major PC daws. I've logged many years on Cake in one or all forms or another. It works well for my needs- which is basically a linear tape style recording / tracking concept with as many outboard processors as my computer can handle and one hell of of a synth rack. I firmly believe in making editing decisions and rendering them to file. I don't do beats or ever use a grid and I track band style performances either with bands or as a one man band type of thing. I think the editing is intuitive / comprehensive and I have projects going back to the early 90's that are still viable. Other DAWs have a little different style of bell and whistle - but they all do the basic same thing.

" The closest thing to what you are trying to do with that, which is have the snare track cancel the snare sound out of your hat track, is to use a gate in inverse mode on the hi hat track with a sidechain coming from the snare so that each snare hit triggers the gate to close. You can fiddle with the gating amount and attack and release to get this to sound as natural as possible. " This sounds like an interesting idea. Thanks for the input. The hat track isn't a substantive track - and I can get it mixed back enough that it sounds natural. It's not a make or break situation. The tracking is fairly consistent through out the whole of the project - which to date is about 16 songs. Tracking has taken place for over a year.........This one particular song seems to have a far higher degree of bleed from the rest. It was a new tracking set-up and I think the fellow setting it up inadvertently had the hat mic dead on axis to the snare. Just didn't catch it. Thanks for the tip. I'll let you know if it solves the issue.

- these are fixed completed tracks, and I wasn't on hand to set-up the tracking session. Eq-ing snare out of the hat track proved far worse - as they share considerable frequency domains. I can reduce the "crack " a bit but loosing the high frequency content does more than good. I guess the main question I have is - do you think the attempt to phase cancel the common elements between the snare track and the hat track is goofy idea ? I thought " conceptually " that it could work..... and maybe it can - but my process was wonky. I gave it kind of a quick shot , and didn't see any appreciable effect.

I just turned 60 - I think I top out at about 6k. ( the you tube test posted above - I got to about 7.5K.) Gets better when I cup my hands around my ears. I'm sure it looks worse than it sounds. That's with sine wave sweeps. I use Span to actually band cut high and low - and these days the visuals actually do matter.

I shook hands with a famous guy once - does that count? It was Jim Marshall, back when I was a teen, standing in front a full stack - probably late 70's ish. At least someone there was famous. Oh - and I had about a 10 second music stab between commercial breaks during a world series game. And double OH ! - I have a piece of equipment that was owned by a famous guy - Peter Frampton. That's all the name dropping I have for this episode.

I was mixing some drum tracks ( acoustic tracks ) I'm working with "other peoples tracking " I had a pretty high blead from the snare into the hat mic. I thought I would try an experiment which comprised taking a copy of the snare track and inverting it and mixing back into the hat track to " hopefully " cancel out the snare bleed. Zip nada - craptastic results. I did make sure to sample align the snare hits. But It really didn't work! - Do you think it should?

Mixing with HD650's here..... uh and hear ! I'm getting on in years and moved to different house in which I lost a nice home studio set-up and exchanged it for a new dungeon! Headphones are real save for me right now.

Nice- thanks be to Bakers.!

Chicago area here - just south of the lake : 20 " of snow fell this last week, we'll be finally getting out of single digit temps next week. It's a weird feeling when temps climb up to 30 deg and it feels like t-shirt and sandals weather.

I'm a little confused : are these subscription service only ? or are they standard EULA ? I checked the musician bundle pricing and that's what I came away with. I just serviced a 800 RB for my brother and it is a really good sounding amp. musician bundle add : Overview WHAT YOU GET 44 Plugins & 40 Modular Effects, and growing over time! All our Synths, Guitar & Bass Amps and Stomp-Boxes, and some Reverbs, Delays, Vocal Effects, and more. Plus Gig Performer and the original Focusrite TMT Console! 14 Top Brands incl. AMPEG, DIEZEL, ENGL, DS Audio, Focusrite, Unfiltered Audio, Brainworx and more. WHAT'S THE DEAL? Just $14.99 per month - perfect for any live & studio musician (charged automatically every month) NEW! Get a $149.99 voucher code back after 1 year! (after 12 continuous payments - can be spend on ANY plugins in our store) NO Annual Commitment | Pure Month-2-Month | Cancel Anytime! Out of the box - and at just $14.99/mo - the MUSICIAN Bundle contains everything you need to play keys, guitar or bass - and sing! Even a low-latency live-host for your PA plugins is included (Gig Performer PA Edition), so you can take your plugins on stage or rehearse and practice with them. Add to that a full-blown 72-channel Focusrite TMT console with a built-in De-Esser, and you can sound your best, live or in the studio!

I try to use a max of around 106 % for time stretching as well as keeping the wave form selection short. I think most any type of re-sampling adds artifacts - so less is more in my way of thinking. Time stretching has been the most important update to Cake in my opinion.

I found something similar to all these online a few years ago - in MP3 . Cool to have better descriptions on these y tubes.

Not sure if linking audio clips performs similar editing to all clips - but there is a create selection groups - that allows splitting. cropping, stretching dragging etc between the grouped tracks. You must first select the tracks or clips - right mouse click and about 3/4 down the list you will see the create selection groups switch. I grab the selection by clicking in the header of one of these tracks to select all. - Great for editing multiple drum tracks - or basic song editing when not using a grid.

Another standard bearer has exited.

Walter Becker saw this coming : 'Cause the hat stays too flat My hat is way too flat My english she is much better now But my hat remains too flat The man smells a rat And that's the end of that My english it is more better now But my hat is still too flat Fair arcturus fashion forecast: Skirts will be shorter Legs stay long Virtual raincoats are coming back Hats as always continued flat