John Bradley

Tip: Use as few audio transient markers as you can get away with (say, one per bar), and disable the rest. You'll get the best results with longer, uniformly-stretched audio segments rather than stretching/squeezing every note to be precisely on grid.

Also, position the markers right before the note starts, rather than in the middle of the attack. It'll be less noticable if there's a phase/tonality shift between the notes rather than in the middle of them.

Finally, there are several different offline rendering methods (Elastique Pro, and a number of Radius algorithms). Play around with them at see what works best for your particular audio.

Oh, and avoid the automatic quantization unless you enjoy seeking out and fixing random errors. Safer (and arguably faster) to just drag the markers around by hand. At least, that's what I do.

The English have a vast surplus of 'u's, and have to distribute freely with their 'o's to keep them from overrunning the countryside and scaring the sheep.

Could be worse. According to local folklore, they stole them from the Welsh. To this day, the Welsh have had to make do with 'y's, the only vowel-like letter their neighbors left them.

Oh, so that's where that mic came from! 

I have the xlr version of that mic, and it's complete garbage, but I never cared because I bought the package for the arm and pop filter, mounted up my Rode NT-1, and threw the mic in a drawer...

1 hour ago, Sidney Earl Goodroe said:

Finally, notation is the earliest form of direct communication for a composer to communicate his interpretation of a piece. I think we are very fortunate to have any system that allows me to pick up a piece of paper and see EXACTLY the way Beethoven intended for this music to be performed.

Poe's Law. I can't tell if you're being serious, or mocking someone.

On the off chance that you're serious, the most carefully annotated sheet music gives us at best a 'reasonable idea' of how Beethoven wanted his music performed. There's far more nuance in any performance than can be expressed in sheet music. Anyone who's heard a soulless MIDI performance 'typed in' from sheet music, playing perfectly on-grid, knows that.

Luckily we now have a way to perfectly capture exactly how a piece is meant to sound, in the form of actual recordings of a performance by (or approved by) the composer. Perhaps the recordings or playback technology won't survive the coming apocalypse, but if so, we've got bigger problems at that stage than trying to remember how "Be-bop-a-lula" was supposed to go.

But having written that, you must be joking. If so, well-played sir, you got me!

Track pane, Options | On Stop, Rewind to Now Marker

Ctrl-W toggles that behavior on mine, though I don't know if that's a binding I made, or a default binding everyone has.

Complains about price of Hofa reverb. Gets recommended an even pricier reverb. 😄

Question: isn't Exponential's R4 Reverb considered a Very Good Thing, as these things go? Given the $299 list, I'd certainly hope so.

It's $29 right now at Plugin Boutique as a crossgrade from virtually anything that you've bought at PB. Granted, it's iLok'y, and they only give you a single activation, but still, it's 90% off... (ends Sept. 30)

Thinking about picking it up as the "full version of BREVERB for a good price" thing I've wanted seems unlikely to ever happen.

So the sasquatches got tired of roughing it, and decided to move into the city?

Just now, mibby said:

Wait a minute! Jesus runs JRR shop??

Reminds me of that old Ministry song, Jesus Built My Website.

Is the particular room sound important?

If not, I'd think the easiest thing to do might be to gate and compress the audio, edit out whatever unwanted noises made it past the gate, and then add some synthetic ambience (say, a nice covolution reverb) afterwards.

Just a thought.

Though fwiw, those recorded signals look very low, and might be getting somewhat lost in the room sound even while you're talking. More sophisticated repair might be necessary. (e.g. RX6/7/8 have de-noiser and de-reverb plugins, I believe.)

I get that a lot. Maybe if I buy yet another guitar, or a new amp...

Perhaps that's why David Byrne, Bowie, and others have favored female bass players... 😉

Make sure the sends are set to post-fader (orange button next to the send knob). Then they'll mute along with the rest of the track.

Keys? Pshaw! A truly serious note can only appear in a proper 12-tone piece.

If you have to make yourself listen to it, over your base animal urge to turn off the series of unpleasant noises, that right there is some Serious Music.

"That's what he said!"

3 hours ago, Michael McBroom said:

This is strange.  I use the Write function often with audio clips to control a clip's volume -- most often if I want a fade-out to occur. Just now I tried doing this with a short audio clip. Same as always, I clicked on the "W" and it turned red and then I hit "Play". When I wanted the W function to work, I doubleclicked with my mouse over the volume slider and slid it down where I wanted it to wind up. No problem there. The "W" track glowed that bright yellow-green color it always glows. But when I hit "Stop," the line turned from a bright yellow-green to a muted dull green and there is nothing I've tried so far that will allow me to move any of the nodes that were created when I moved the volume slider.

You're in Clips mode in that track. Switch to Automation | Volume and you'll be able to edit your drawn-in-with-the-fader control points.

Also note that Clip Automation | Gain will affects the level at the very top of the strip (right before the 'Gain' knob, I believe). It occurs before the FX Bin and the ProChannel (regardless of which order you have them in). Practical upshot, it can change the tone of whatever you're playing on the track if there's some distortion/saturation added as an effect. Similarly, if the track is heavily compressed, changing the clip gain may have little effect on the volume. 

Volume automation drives the fader, the very last thing in the strip, so it will not affect the levels going into any effects you might have on the track, just the output level being sent from the track to wherever you've got it routed.

But to answer the original question, unless you really want to replace your bass with a synth or something, there's no reason to try to turn it into midi.

What you want is AudioSnap. Turn it on, and I recommend you disable as many markers as you can (say, leave 1 per bar enabled) and then move the more egregious errors closer to the grid lines. Oh, turn on the vertical grid lines (1/4 or 1/8 resolution) in the Track window.

If you leave all the markers enabled and start trying to move all of them the be perfectly on grid, you can run into 'problems' down the line.

"You take that back, my mother was a saint!"

...at my last doctor's appointment he whipped out the goniometer. Then he asked me to cough.

Thanks @David Sprouse and @markno999, and everyone else who gave it a listen.

Glad you guys approve of my efforts at covering songs that don't get covered all that often. You won't be hearing me do a cover of Hard to Handle or What I Like About You, because a) my band can play them just fine, and b) if I never hear those two songs again, that'd be just fine with me.

I'm a frustrated cover band guy. The tracks I produce are meant to properly realize songs that I want to play in my band but can't (lack of players, lack of talent) or they're tracks that I can't get the other guys interested in playing. In the former case, I can reuse these projects to supply additional backing tracks for the band. In the latter, well, at least I get to play the darned song!

In real life, I've got a little 3pc (guitar/bass/drums) rockin' teen combo, plus a singer who just sings. But in the bedroom, I can have a band with 5 guitar players, a horn section, as many backup singers as seems necessary, and so on. Without the many problems that having a larger band would entail. Not the least of which is where to put them all. And also to be able to have all those extra musicians only play on the songs that need them, and not every single song you play, because you've got bored guys just standing there, noodling away, even in the ballads.

It's keen. And it gives me something to do without leaving my house; they've all gone mad out there.

If I'm reading you correctly, the tip of one of your 1/4" plugs broke off, and is stuck inside a 1/4" jack in your interface?

If that's the case, open that bad boy up and see what type of 1/4" jacks its using (there's only a couple possibilities that everyone uses). If the jack is open in any way, you might be able to easily pull the tip out the other way (essentially pulling it all the way through the jack, rather than trying to pull it out the way it came in). Possibly pushing it out the back of the jack by inserting something thin and pointy (say, a wooden kitchen skewer, or a small screwdriver).

Worst case, if the jack is completely sealed and there doesn't seem any way to open it up to get the offending broken bit out of it, you could just desolder the jack and replace it entirely, with a new, less-broken-off-tip-inside-of-it jack.

I mean, the fact that the jack (apparently) ate one of your 1/4" plugs would seem to indicate that it's gone feral, and needs to be put down for the common good...

But the real question: Is it pronounced "BEE-can", or "buh-CAHN"?

The articulation doesn't apply to a whole clip. If you watch further you can see a part where he's got an articulation that's one note long in the middle of a phrase played in a different manner.

I can see some utility in that it gives you human readable indication of the play style, rather than you having to remember "why is there an F# two octaves below the lowest note in my G chord", and "which particular articulation is that, anyway"?

Also of potential interest to those who aren't using string/horn/orchestral libraries with many types of articulation: the 'articulations' don't have to output midi notes, but can do various 'soft' transforms to the existing notes (octave up, arpeggiator, etc.).

Not in my top 10 list of features, but all improvements to software that isn't costing us a penny (other than Larry's deals!) are to be applauded.

If the midi data was deleted by truncating the beginning or end of a clip, yeah it should still exist if you stretch the clip back. 
 

On the other hand, if you delete individual notes from a clip via the PRV, those are gone once you close the file (ie, can no longer ‘undo’ the deletion).

Yet another copy... 

Briefly played around with the one I got for free from PluginBoutique, never even bothered to install it on my studio computer. Sounded fine, but I'm already drowning in VSTs and VSTis that don't require me to come to grips with a whole new 'way of life'.

I'm sure we've all accidentally deleted bits in other tracks by having more tracks selected than the one you think you're editing...

Can you just go and drag the right edge of the relevant clips back to where they should be?

When you delete things in Cakewalk it's generally non-destructive; the data's still there on the disk, it's just a matter of telling CW it should be playing it (again).