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Ludwig Bouwer

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About Ludwig Bouwer

  • Birthday 07/13/1972

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  1. I'm totally with Tim on this. DON'T EVER underestimate how easy it is to do something stupid in such a big project. I actually save versions all the time, even for singles, let alone massive mixes like a 60 to 100 track 3 hour concert. It's a nightmare if you can't quickly go and grab a lost piece of audio from a previous version... sooner or later, you will need to backtrack. Sometimes clips are grouped that shouldn't be and you delete something, ect . with high track counts come high plugin counts, which makes the chance of a crash or even a corrupted file much higher too. It costs nothing to use a bit of disc space and delete the old versions once the project is signed off. One of the cool things about CbB which many other DAWs don't allow is to keep more than one project open at a time. If you ever need to grab audio from another version, just launch the old file while the new one is open, highlight, copy, switch to the new version and paste. As for backups, you guys north of the equator with your super fast internet, enjoy your cloud backups. Talk to me again when it all goes down for whatever reason! My backups are in a fireproof/ lion-proof/ elephant-proof safe
  2. I can only speak for myself, but I have mixed a huge amount of live albums. My suggestion is you keep it in one long timeline all the way to the point where you have to export for mastering. It's the easiest way to keep things consistent. Choose the best takes and delete the rest non-destructively. Needless to say, NEVER edit and mix on your original file, that's the only backup you have. Save As... all the way :O) Choose the song that represents the band's style the best and mix the entire project starting with that song. Once you have a mix that the artist really really likes, start using automation to mix the rest of the set, keeping your kick drum and lead vocal as constant as possible, within the parameters of taste and style of each song. I even master an album like that as one big performance, inserting my mastering plugs of choice into the master bus. Again, it makes getting a consistent sound much easier. Others may have different approaches, so feel free to experiment.
  3. I'd love to see a special track where I can type notes regarding a section in a song... "lift kick here.." , "Client wants a shaker here..". I use Track Markers for that but it gets cramped. Similar to the already-available Take Lane notes, but horizontal along the timeline.
  4. Pretoria, South Africa. (And no, Africa is not just one country, and I don't have a pet lion :O)
  5. Hi guys, so here's one for the hardware gurus: I run an Intel I7-7700 3.6Gz chip Asus Prime Z270-K board, 2 x 8GB Corsair 2133 DDR4 Gaming RAM, Kingston 1TB SSD 400 MB/s for OS Seagate 7200 RPM 2TB SSHD drive for audio and project. External usb3 for samples OS is Win 10 Pro x 64 Soundcard is RME HDSP9652 PCi running Asio So my question is this: Which components do I need to take a look at to improve each of the following scenarios? 1: Faster Bouncing and Freezing of tracks 2: Faster Loading of projects with large plugin and track counts. 3: Ability to run more tracks and plugins before buffer has to be enlarged Looking at the Windows performance monitor, Freezing tracks only hits around 20% of the CPU and Disk usage is negligible. Mixing down hits around 59% of CPU with Disks doing very little as well. I look forward to hearing from you guys, thanks in advance!
  6. I stand corrected Glad to hear SOS hasn't taken the route so many others have.
  7. Paying customers always come first, IMO.. Don't think money doesn't change hands to get reviews.
  8. Win 10 Pro x64, Build 1809, OS 17763.615
  9. Sorry to hear about your problems, but I just opened a 125 track mix with a zillion plugins on it and it runs fine.
  10. Hi Fogle, it is indeed a tremendous honour, thanks so much - I have never worked on a track that gained 4 million youtube views in under a week (never mind the initial broadcast!). Truly bizarre! I am based in South Africa, in the capital city Pretoria. My humble studio is www.onebigroom.co.za and I do this for a living. At that time, only the initial audition track (The song African Dream) was recorded with me along with some musical bits and pieces which I did not hear on the show, and that happened a good few months ago. That episode was filmed early May I think. I have no idea what the arrangement was beyond that but it certainly seemed to me that Ralf Schmitt, the producer/conductor, felt they only had that one very small moment to prove themselves. I did speak to him a week or so after that filming and all he said was, "Standing ovation - we've been called back to LA! Gotta run!".. You can imagine what his inbox looks like now! That's all the info I actually have for now - I hope they do well, it's a very deserving project.
  11. I'm not sure to be honest! I have no idea what was used and what wasn't. This show's auditions are filmed quite a bit before the time, but the non-disclosure agreements are as watertight as they can be.. The choir conductor won't tell anyone anything !
  12. Drums, bass, perc and guitar recorded in Cakewalk by your's truly. As seen on AGT last night:
  13. I'm seeing a considerable uptake in CbB chatter on Facebook. Quite a few recording and sound engineering groups have mentioned it in the last while. Many former users are however still not aware of CbB's rebirth, and I think the quickest way to educate the masses is for us users to spread the word on these FB groups.
  14. CbB is just MILES above Platinum. But yes, install SPlat so you get the plugs.
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