Pathfinder

Thanks very much -Greatly appreciated.........

I have some projects, all VSTS except for all guitars and all vocals. I am wanting to re-do some of them and use the same midi in the project but delete the vocal recording(s)? IOW, the CWP without the old vocal track?
i have stated a few times that I forgotten many things I used to know in CW. Yes I have memory issues, I am not looking for sympathy, just help. 
I went into the Audio folder of the project (.CWP) and deleted a vocal track but of course when I opened the project I had the missing file dialog. 
 OR
sooner or later I will export the projects to audio (just basic bouncing)-So is it better just to leave the old vocal recordings and when I bounce and export I just don't include the old vocal records? Just looking for the easiest (best?) way.

Hope this makes sense!

Thanks

CWBL has a come a very long way. That would be my choice. I had a similar choice with  "a competitors daw". I chose CW and am very glad I did. Also, I am not familiar with Reason but the support you get on this forum is second to none IMHO!

So I came back here because I still have NOT purchased a new mic and MAINLY because I value the opinions of CW forums-always have.

I didn't realize that their is an OC18 that is only $799 (only in black-weird?). The more expensive OC18 has all sorts of belles and whistles that I would NEVER used-I am confused enough. Like remote control? Wireless, etc, etc 

But the main differences that matter imho are the Black OC18 is only cardoid which is fine for me, I have penty of other mics and I am looking for vocal mics.

The other only real difference is the $799 OC18 uses a Handcrafted CKR6 ceramic capsule like the CKR12 capsule, but with a single diaphragm ( i copied and pasted that part 🙂  )

I am thinking this might be it. I like what I read about the company and what was posted in this thread.

Thoughts? and Thanks as always

I am just curious. Been here forever and Kontakt was my first purchased vst way back when. Still use it in EVERY PROJECT and I have never seen what you describe. I use my daw everyday. Main VSTS are Toontrack and Kontakt. Presently Kontakt 7.

BTW, I am NOT DOUBTING what you say, no a bit. But if it's Kontakt and CWBL why have I never seen this?
Just trying to understand.

Also what I mean is your saying it's a combination of K7 and CWBL. If it was solely that wouldn't we all be seeing this behavior. I have never touched High DPI scaling override" in Properties /

Once again, just trying to understand. So it's ONLY if High DPI scaling override" in Properties / is checked? Thanks

On 9/20/2024 at 9:16 PM, Amberwolf said:

The cal still won't do what this person appears to want to do, since it cannot split the audio outputs to separate tracks so they can be fx'd/etc separately, only the MIDI notes.  

 

A drum map is great for putting the right note names on the right midi notes (so you don't have to remember which note is which drum), but it doesn't affect this either, so having the map or not doesn't change what this user appears to want.  

 

Having a drum synth that has multiple separate audio outputs (either mono or stereo) *would* do it.

 

Or using multiple separate copies of the synth, each played by only the notes for the set of drums that will have the same fx chain/etc. 

The idea is to use the CAL SCRIPT FIRST- He is just making things harder on himself.

32 minutes ago, parboo12 said:

I'm assuming that you have a midi drum track with everything on one track. One easy way to do it is copy the drum track a few times (ctrl shift drag) and delete everything that isn't the kick drum on one track, everything that isn't the snare on another track, etc. Don't touch the original, in case you screw up. When you're done archive the original drum track.

Why don't you use the CALS? They work great.?

I always start by using the CAL Split Notes to Tracks. I your case you could then assign certain ones to different busses etc.

9 minutes ago, pwalpwal said:

they said cwbbl wouldn't be updated, and no new version of that freebie would be released... having said that they may well change their mind 🤷‍♀️ so don't bet your studio on it

Point taken-But I was one of the most vocal pissed of people about no perpetual Sonar License. Very vocal. I have to have faith that CW. will honor it's CWBL statements. You know one of those, since the early 90's CW guys, like many here.
Honestly, the only way I see that is changing is if they ever, actually, realize that the smart business move without question to sell us a Sonar license.

Reason: Most of us would just go to another daw and CW would lose a lot of customers that would certainly have bought the perpetual license. The subscription model is a joke and sooner or later they will realize they made a mistake.

22 hours ago, gmp said:

Platinum 32 bit or 64 bit or both?

 

I never install the 32bit versions anymore and haven't for years

Cannot help with the list but I always just install Sonar Platinum- along with CWBL when ever I reinstall. I have the other versions but, for me, Plat covers most all the important ones.

21 hours ago, Wookiee said:

I have noticed with Toontrack plugins, if you don't grab their resize handle, meaning you grab the corner of the window rather than the three diagonal line bottom right corner, you will get a grey around the window. As I don't own Kontakt I have no experience. 

Guess I grab  the resize handle "every time". Since I use tootracks ez drummer 3 and ez keys 2 and Ez Bass everyday and have neve had this issue. just habit I guess. 

EDIT: I should also add that I rarely HAVE TO RESIZE these windows. I do have to MOVE the window from the top left to the middle though very often.

I am always resizing VSTS, like Kontakt 7, Toontrack Ez Drummer 3, EZ Bass and many more and they resize fine. 

7 hours ago, Bristol_Jonesey said:

Wanted to add I know it was  very basic, should easily know question and I appreciate YOU not dismissing it because I should have known this. Of course I knew this and obviously I forgot. Thanks very much!

Yes I actually forgot all about that since I have not had to touch it in years. Thanks

Not sure why or what I did-But EZ Drummer 3 when inserted into a track using either Synthrack or dragging from browser no longer creates a track folder? All other VSTS do. 
so now I have to insert track folder and move all ez drummer tracks to it. My methods are certainly not the best or optimal but they work for me and I always use the synth rack.

What did I do now? I

Thanks

6 hours ago, mettelus said:

Have you considered focusing on your FX chain instead? As long as the signal is captured cleanly, that FX chain does the grunt work (and can even shift the EQ profile from one mic to another, which is on a few websites to "check" different mics). The reason I say this is because say you have a incredibly dominant third harmonic in your voice... the mic isn't going to resolve that in any way (it walks the spectrum depending on the note you are singing). The mics you have now should ALL be fine for capture purposes... I would focus on the output and create an FX chain that yields the results you want.

Side note here... Take a look at your captured dry signal and spend time analyzing that in gory detail with SPAN (or similar). If you have harmonics that cause the issues (this is a common issue actually), Melda's MCharacter is worth doing a trial on to test (make sure it is on the dry signal, and other FX are after it). It is the only plugin I am aware of to dynamically adjust the timbre of a signal (and excels on monophonic dry material).

Quick Edit: The MCharacter teaser may better demonstrate what I was trying to articulate above (around 1:30 into that teaser is a clearer explanation).

Appreciate the good info. But I would just like to buy another mic. not to correct any perceived issues. If I made it sound like this was to fix anything that was NOT my intention. Like I said-Good info-Thanks

14 hours ago, Gary Carey said:

I'll second the recommendation for Austrian Audio. The capsule in the OC18 is hand made in Vienna by ex AKG people. The same capsule, tuned slightly differently, is also used in the OC16. If you're OK with just cardiod pattern and a three position roll-off switch the OC16 offers a lot of 414-style mic for a very keen price. 

Two observations about the OC16. I'm spending much less time dealing with sibilance issues when mixing, it tames it nicely yet still sounds clear in the top end. Plus I get a good, neutral acoustic guitar sound. For my own projects I could happily use just the one mic if needed. (Although where's the fun in that? )

 

They read like nice mics. Very inexpensive. I would be interested more in the OC18-did you ever use one of those?

Thanks

Confidence in Cakewalk Team abilities has NEVER been an issue for me................

5 hours ago, DeeringAmps said:

@Terry Kelley, et al.
I understand exactly how you’ve come to your opinion, but perhaps, given the fact that input has been solicited, we should give BL the benefit of the doubt?

Time will tell. I, for one, understand completely that BL is trying to build membership. I don’t have a problem with BL monetizing the DAW. Would I prefer to have a perpetual license; hell ya! Do I need/want the “perks” that membership brings? I will probably never explore them. Will I “pay to play” for my favorite DAW; yup! And if that’s a subscription; so be it!

YMMV

t

Tom

As stated above, it is weird imho that, I quote from above post, "Given the fact they didn't have a "we want a perpetual option" in the drop down despite every end user would like to see this as an option." 

so?,..................................Why isn't it? I know you won't know but it is the obvious drop down response.

I m happy with CWBL so I will not bother to submit anything since the obvious is missing.

16 hours ago, Starship Krupa said:

I consider myself a cheapskate, really. Part of the fun of the hobby for me is seeing how much I can do/get for how little cash outlay. So by "budget," I mean "how much I will allow myself to invest in a mic" rather than "how much disposable income I have to put toward this hobby." May be the same with you.

The Baby Bottle SL is the first mic I've ever bought brand new as well as being the most money I've ever spent on a single mic.

My most expensive mic before this was my AT 3035. Nice mic, purchased used for well under $100.

Yes big difference between me and you-Even though I am not a big rock star, music is more than a hobby for me. Been playing guitar for over 40 years and music is part of me, part of my life. So I put everything I can into it.....Most of the people in my life besides parents and siblings of course, are in my life because of music-meaning that is how I met them. Some are gone, some are still here! Music is everything to me. Daws are just a logical extension of my love for music...........
It's all good in my opinion!

On 7/1/2024 at 6:10 PM, Starship Krupa said:

Sounds like your budget is higher than mine, but I just bought one of these Blue Baby Bottles on sale at Amazon for $164:

https://www.amazon.com/Logitech-Creators-Microphone-Recording-Streaming/dp/B01N7TTXZ5

I'm not much of a mic maven, but years ago a studio owner friend of mine used one of these to record me and it sounded great.

I am no mic maven either. I just can never settle on a vocal mic for myself. The warm Audio WA-47 is easily the best sounding (for my vocals) I have. The Shures I have had for a while.

I actually have the warm Audio Wa-87r2 on Craigslist ATM- really don't need it and really was looking for something completely different than the wa-47 and everywhere I looked the AKG414's were always in the list of studio vocal mics.

Also, my BUDGET is probably not much different than yours - I just always use the 36\48 months no interest at either Sweetwater or Musicians Friend!

34 minutes ago, jackson white said:

vocals are the prime driver for building a mic collection here, finding some of the newer mics with A/B options to be interesting, versatile and a good value.

This one is great, with two distinct flavors (vintage/modern) and a transformer that can easily double as a boat anchor (lot of iron in this one).

https://unitedstudiotech.com/en/products/ut-twin87

And reading (so far...) good things about this one, on the list to demo.

https://chandlerlimited.com/tg-microphone-type-l/

Also good luck with JZs, (3 in the locker).

https://intshop.jzmic.com/

...

never used them, but would any of the mic modelers be of interest?  I work with a couple of (legit) producers  that use Slate.

 

Thanks for th info-Mic modelers are out due to ILok-I refuse to put that garbage on my DAW. I have done fine without it for decades

Keeps pooping up but the recommended resolution for the card is set?  Nvidia GeForce RTX3060-new about a month ago.

Just started yesterday out of no where.

Any ideas where I can start- I have no idea. LG 32" monitor-about one year old.

Thanks

These are the 2 settings that this dialog box goes back and forth about. If I change to recommended it pops up and say pick the other one. If I pick the other one the same thing happens???

3 hours ago, Duncan Stitt said:

Expanding on my earlier comment, mics come in 3 basic flavors: Flat response, mid-scooped response, and mid-forward response.  This is an oversimplification, but there's a technical explanation. Condensor mics either have a center-terminated capsule or an edge-terminated capsule. A center-terminated capsule pushes the mids, and edge-terminated capsule scoops the mids. Neumanns are center-terminated, 414s are edge-terminated. You can see the difference if you compare frequency response graphs, which you can find on the Recordinghacks.com mic database page.

To generalize (again) a mid-scooped voice like Rod Stewart. (extreme example) would benefit from a mid-forward mic like a Neumann or Shure SM7b. A honky or nasal singer like the guy from Queen might benefit from a mid-scooped mic like a 414. That's why reputable recording studios have a collection of mics to choose from. They'll do a mic shootout at the beginning of the recording process to determine which mic sounds best on the singer. The thing is, the actual frequency response of  the same mic model can vary from one mic to the next, with peaks and valleys that might be a couple of DB different than the published response graph. If one of these little peaks or valleys coincides with a peak or valley in response in the singers voice, it can sound magic - or terrible.  That's why you hear about people complaining they got a bad copy of a U87, for example.

Getting into the minutiae, the high frequency peak can vary from mic model to mic model. If the sibilance range of your singer is in the 7k range, a mic with a peak at 7k is going to magnify sibilance. An example from a few years ago was a lady singer who was getting too much sibilance on my Gefell MT71s (same capsule as the Gefell 930, but different electronics and housing.) She said, in another studio, she was using a Shure KSM44 with no sibilance issues. I looked up response graphs for both mics and saw a peak at 7k on the Gefell, and a dip at 7k on the Shure. I sold the Gefell , even though it sounded awesome on acoustic guitars. 

Musical context is important. Some singers might use a mid-scooped mic on one song and a mid-forward mic on another song, depending on how the voice is interacting with the musical accompaniment.

For recording instruments, a bass roll off switch on the mic can be crucial. The other day, I wanted a sort of warm sound for a sloppily strummed acoustic guitar, where I wanted to increase the sound of the body and decrease the string sound. I put up a AT4047 which is known for its big low mids and reduced high end. No matter where I put it, I was getting too much low end. I changed to a 414ULS (the flatter response model of 414s) with a foam pop  filter to reduce highs, and the 2-position bass roll off switch set to 150hz and got the sound I was looking for.

In an ideal world, we EQ our tracks by choosing the right mic, since the EQ curve of the mic is baked into the recording. Of course we can fiddle with EQ to change the sound in the mix, but we can't replicate the sound of a different mic with EQ alone.  On the other hand, some companies are promoting their mic modeling system where you buy a certain mic and then run it through their software to emulate the mic of your choice. I have no experience in that realm, I have a bunch of mics instead. 

Thank for the info and I sure wish I could sing like the, "nasal singer like the guy from Queen"..................And write and play.