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mettelus

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Everything posted by mettelus

  1. If you are able to post a sample file without FX running it would be more helpful to understand your situation. Something with just 5 seconds of background noise followed by 10 seconds or so of a couple phrases would be ideal. If you are not comfortable sharing it publicly, you could send me a PM and I can take a look at it. I have been working with someone using the AT2020 for narration, and a chunk of the issue was resolved with sound isolation, mic rotation, and how the mic was being used. A HPF before the Sonitus took care of a good deal of the hum and let the gate operate more smoothly. Specific to the Sonitus Gate, the threshold (input slider) shouldn't be too far above the noise level (and as far below the signal as is tolerable) during mic checks. The "Depth" then needs to be adjusted to prevent the chatter (it defaults to -inf, so will slam shut that way... her situation was around -25dB). The other default settings were close, but I think the Release got bumped up to around 400ms. That said, every recording situation is unique, but the HPF, Input threshold, and Depth are where I would start.
  2. Back to @jesse g's question, I am pretty sure that cross grade has dropped to roughly $183 on JRR before during the Holidays, but now I am wondering if that was specific to the Gibson debacle. That event actually happened right before BF, and a lot of vendors went out of their way to accommodate all of the SONAR refugees that year. There is often a lot of hoopla with the .5 releases which confuses people into thinking they are another purchase, but they are included in the main versions. I never realized there even was a Dolby Atmos VST until I saw it in here on sale for $179... PreSonus gave that to us with SOP 6.5 for free. All the hype with the .5 releases may be to get new folks to onboard during the off years, but those releases tend to have a lot in them.
  3. Hmmm, not sure what to make of that once I read it. It comes across as a VSTi being inbound and a quick way to build a sample base for it, but the dry/wet runs hint at a profiler being inbound as well.
  4. The Holiday season tends to be the best deals. There is often another one (often cheaper) done before the next version release. With current timing, that one would probably be next summer (and also outside the window to get a free upgrade to V7) when it hits. I would expect V7 to hit Sep/Oct of next year or thereabouts. I just picked up the Revelator condenser for $59 during the second Amazon Prime Day, and the one-time software option for that was either 1) Studio One Artist (outright), or 2) Studio One + free for 6-months. While the Studio One+ is an option, it is also an (expiring) subscription, which is roughly $140/year. By comparison, Studio One Pro (once you own it) is roughly $60/year to maintain it current (typically a sale at roughly $125 or less on JRR, with the version releases every 2 years).
  5. I totally forget when this was implemented now, but Cakewalk used to use a Global Audio folder (what a mess that was), and you could actually carry that setting forward if you chose. If there is an audio file you think is "missing," yet it plays, right click on it and choose "Associated Audio File..." at the bottom. The "Path" that it pops up could very well be the Global Audio directory, which will match the Preferences->Files->Audio Data setting (defaults to "Cakewalk Projects\Audio Data"). Also, there is nothing preventing a cwp from referencing an audio file anywhere on your machine (even from a previous cwp in another project folder), so the Associated Audio File... will let you see what directory that file is really in.
  6. It basically boils down to any track-based operations (like resizing, etc.), many of which can be done on multiple tracks simultaneously, require the track number(s) highlighted (selected) so that CbB knows the target of the operation you are performing. As with many programs, a lot of user errors come from operations without explicitly selecting the objects (to be acted on) first.
  7. Thomann specifically mentions SpectraLayers Pro (but not the version) with the Samplitude Suite above, but not with the Sound Forge Pro. It also doesn't mention which Sound Forge version is in the Suite (I "assume" it is 16), so something to be aware of... it is very possible that they are the same and just data entry errors, but cannot tell from just reading them.
  8. Historically, this has been one of the cheapest methods to onboard into SpectraLayers Pro for a new user (especially with the Samplitude Suite). Some of the other applications (Melodyne Essential, Convology XT Complete, etc.) also have a fairly hefty "list" price as well. For someone new to all of these it is pretty substantial, but loses value if you already own the piece parts or an upgrade to them. This is the first time I noticed they gave Samplitude a face lift! Anyone know offhand when that happened? (Last time I got that Suite it was X5 and still looked like a Win95 program).
  9. Something to bear in mind is that even with 24-bit ADCs, there are enough interfaces out there with pre-processing FX that nothing would prevent them from passing 32-bits to the host. Implying that they are 32-bit ADCs is bit much, but pre-processing is essentially doing the same function as the DAW, and no reason they cannot pass that on.
  10. Poor OP is getting inundated with the perpetual discussion/debate, when this was all Max was asking. The practical side of this (beyond carrying precision through calculations) is that a signal cannot be digitally clipped inside the DAW. The downside is that a rogue plugin can spike pretty deep into the red on you, which is why a limiter on the Master bus is always prudent to protect your hearing. ***** This is OFF TOPIC and more for John: I was testing out the PreSonus Revelator (condenser version), and got a pretty pronounced latency at one point (more annoying, but usable) from inadvertantly having the mic and CbB at different bit rates. I chuckled when I found that and thought that has to be one of the more impressive things I have seen in a long while... that mic was working like crazy to "trick" everything it was connected to to think it was working in their native bit rates. Even the CbB preferences window took like 30 seconds to open (with everything still connected), but PreSonus had no issues playing the game. DISCLAIMER here... I would not recommend the condenser version to someone new (especially for recording voice with environmental noise and sibilants concerns), but have not gotten to test the dynamic version (yet). That mic is actually its own audio interface with its own ASIO (and OBS) drivers and counts as Dolby Atmos hardware.
  11. I just took a quick look at the manual and AFAICT the USB is only passing MIDI data. With the Drivers installed (and the Korg connected), you just need to go into CbB preferences->MIDI->Devices and check the box as a MIDI input (similar to what you did using your interface). Check and see if it is listed in your MIDI devices when plugged in via USB. You probably can also check it as an output, but to get audio from the Korg back into CbB you will need to run audio from the output jacks on the Korg to your audio interface. In fact, you can record into CbB for both MIDI (via USB) and audio (via the audio outputs to your interface) but may see some latency in doing so.
  12. Quick follow up with the OP on the BL Denoiser specifically. I have never been a fan of processing things you really want to bake each time the transport runs, and the BL Denoiser loses its settings in addition to causing latency. Because of losing its settings (which also causes it to phase), this plugin is best suited for a "once and done" workflow. After insertion it does extremely well, it just cannot be left active. The quickest method I found for using it (almost identical to a wav editor actually), is to insert it as a clip FX (not track), loop an area of ambient noise and toggle the Learn on and off with with the transport looping, adjust to taste and then Bounce to Clip(s) (which bakes in the clip FX). BL Denoiser is actually very effective when used in this manner.
  13. Thanks for posting this. Just the description in that alone is awesome! "PersistentWindows helps rectify a well-known and frustrating multi-display bug. This bug changes window positions and size when the monitor display count/resolution adjusts and restores its previous settings."
  14. That is a good point there. Painter can do a lot with a mouse, but there are also a lot of features that require a stylus to get the best results with (tilt, pressure, and such). Pressure sensitivity alone makes Painter more enjoyable/realistic to use.
  15. This is usually the cheapest way to pickup Painter as @Kirean had mentioned in the other thread a while back. They typically release this year's version right before announcing the next release (2024), but the features/enhancements tend to get less exciting each year. For anyone new to these, the only ones that update yearly are Painter, PaintShop Pro, and VideoStudio Pro (the rest are static items); but where they have been sitting, you may never feel compelled to ever upgrade them.
  16. Turning off monitors will rarely affect things, so that is typically fine to do. However, both sleep and hibernate modes have issues native to Windows (not the DAW), so those are two you should avoid. Windows has never been elegant with sleep/hibernate modes, and has internal functionality that is hard to defeat or even figure out at times (like shutting off hardware/ports that do not come back online as they would from a boot).
  17. Windows will only see devices directly connected to it as stated, so as a pass-thru only the MIDI port on the interface will register. You can lose some of the internal functions of the keyboard doing this, but it will pass MIDI no problem. 5-pin DIN connnectors into the computer are rare anymore, so many use 5-pin ports being available as a criteria on interface purchases if they need them. Quick edit: I am not familiar with that keyboard, but if you do have USB available from it, that is highly preferred, since it will make the keyboard "fully functional" with its own drivers. The USB connection will pass everything the keyboard is capable of doing, versus the pass-thru route.
  18. You do want things connected (to the same ports) and powered on before opening CbB by default. The simple reason for this is that CbB reaches out to Windows to see if your CbB preferences match what Windows shows available. Once you have everything online and setup in preferences (what you may need to do when/if you have connected things CbB has never seen before), if they are always available when CbB launches, it will "just happen." Even silly things like swapping USB ports will make Windows see it as a new device, and this can trip up CbB because it asks "What is available, and is it known to me?" When you said, "I get a clicking sound then there's no audio at all," is the audio engine stopped (and can it be re-enabled), or are you sending MIDI to the keyboard? This may simply be a preferences/routing adjustment that you need to do once to correct, but after that the project should come online without issues so long as devices are online before the CbB "looks for them."
  19. The B button is the default shortcut to toggle the Browser internal to CbB open and closed (is docked on the right by default). The "Media" tab in the upper left is similar in functionality to Windows Explorer, and if you click the drop down arrow, there is probably already a "Project Files" in that list that goes to your top-level Projects folder. When you drill into folders, you can see the cwp files, and can simply drag/drop one onto the left side of the Track View to load it into an existing project (bit rates must match though).
  20. Welp, it just took a little more digging.... AA3 DOES work, can be installed, and is so old (2008) that it has a manual registration cycle (I simply said "Do not register" when I got there). The "correct answer" in post was accurate. There is a "components.msi" file in both the 3.0 installer and the 3.0.1 patch that worked for installing the application and patch (the setup.exe files both fail on Win10). Upon launch it failed to load twice because of incompatabilty issues, but the Win10 trouble shooter popped up and fixed that. The layout is different from what I am used to (with AA4), but the noise algorothm seems identical (the only difference in a null test was default differences between the two apps on the default render tweaks (I am not in the mood to run that to ground and no one would know/care anyway)). I was bothered with the initial pass I tried above because the default installer STILL downloads all of the needed files from Adobe's server (just the setup.exe won't run in Win10). Even though I saved that download folder from years ago just in case, it bothered me that the installer was still able to pull them down without an issue but not run them.
  21. Quick FYI, I guess Adobe's reaction to the debacle a few years back was to shut off the activation servers completely for CS2, so AA3 won't activate even if you can get it to install. I "think" that was scripted for XP SP3, but even in compatibility mode it won't go past the choose language screen on Win 10. The activation servers being shut down makes it a waste of effort anyway.
  22. I guess I need clarification on this still. Your first reply made me think it was a simple "tempo map doesn't follow the performance," but when you said It sounds like you are doing a multi-session project and what he has done so far is synced to the tracks he performed, but not to the tempo map, so that you can edit with snap-to-grid enabled and line up additional tracks. If you are doing track-based surgery, ripple editing seems to be what you are looking for (i.e., not aligning the tempo map to his performance, but altering his timing to make it fit more appropriately). Creating a tempo map will not alter the audio, but once you say "cut and move," that sounds like ripple editing (perhaps on a track-level, and not a session level). Is that accurate?
  23. Quick question to clarify the OP... are all of the tracks synced to each other? One of the quickest (manual) methods is to Set Measure/Beat at Now (Shift-M) as you work through the track. As long as the tracks are in sync with each other, this will let you insert a tempo map point each time it drifts. Typically every bar or every other bar is common, but sometimes you need to go to a beat level if it is all over the place. This does not adjust the audio at all, it only adjust the tempo map to line up that audio.
  24. I still get a chuckle from the age reduction CGI used in the new Stones release. A millennial going to see them in concert might come out in shock and say, "I think I just saw 'Living Dead - The Musical."'
  25. I suddenly realized I posted a video for using Adobe Audition in SONAR almost 10 years ago now. I have no clue what I used for the video capture (use Camtasia now), but even the cursor latency in "whatever" I used sucked. I actually have "Audacity" in that Utilities menu, but never used it (that I can recall). The only difference between then and now is that I normalize to -3dB by default. I remember someone had asked how to do this, so threw this together to demonstrate it way back when. Where I "cheat" with this (and do it often), is that non-optimal capture environments (with steady state noise) are no big deal as long as I get a clean capture of that environment in the initial recording as well.... always a pre- and post-roll capture on things. I did one once about 10 feet from a fireplace starting to take off (so the post-roll was louder), and Audition removed that without issues... in fact, the one in this video may be it now that I look at it more closely.
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