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Craig Anderton

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Everything posted by Craig Anderton

  1. Good points, Tim. For a long time, although I mixed without anything in the master bus, toward the end I'd always strap on dynamics and squash things to anticipate what would happen when it was mastered. And yes, it can mess with your mix. However, I did find that over time, there was less and less difference in the mix between the unlimited and limited versions, because everything kind of came up by the same amount. Then the LUFS thing hit, and doing too much compression actually made your mixes sound smaller when brought into conformance with LUFS standards. So...always in motion is the future. What worked yesterday might not work today but might work tomorrow...or what worked today may never work again! I will say, though, that music's (seemingly inevitable) march to streaming has thrown a lot of the old workflows out the window.
  2. Using compressors on the master was often used pre-digital to get more level on vinyl...the loudness wars have been happening for a while But Bit's right that these days, it's kind of a given. Personally, I prefer not to mix with a compressor in the master bus, because then you're depending on the compressor to compensate for what may be lacking in the mix. Whenever I've tried "top down" mixing (of which I'm not a fan, either), with the compressor bypassed, the mix doesn't sound as good to my ears. So you might think "well if it doesn't sound as good, then just leave the dynamics enabled." But I've found that if I optimize the mix with zero dynamics processing, then add dynamics processing as the last step when mastering, the final result sounds better than if it had been done "top down" from the beginning. However, I also regard mixing and mastering as separate processes. Once I'm totally happy with the mix, while mastering (which I do several days later so I can hear the mix with fresh ears), I'll always add some dynamics control. My current favorites are the Waves L3 Multiband Stereo limiter, which I've been using forever, and more recently IK Multimedia's Stealth limiter (very transparent, but a major CPU hog). Having about 3-6 dB of gain reduction can make a good mix really come alive, and the multiband dynamics sounds much more natural than single-band dynamics processing. (Note that some people want a compressed sound, which is of course perfectly legit, it's just a personal preference that I want my music to sound like there isn't any dynamics processing, even when there is.) I agree that bus compression on the master can "glue" (whatever that means!) tracks together, but so will adding dynamics as the last step of the process. Bottom line is if a mix needs dynamics processing, then I feel there's a problem with the mix. But if the mix likes dynamics processing, then you can take a good mix to the next level. Finally, if you're giving the mix to a mastering engineer, I recommend not using anything in the master bus. Some "pro" engineers have really raked me over the coals for this, because they say I'm asking the artist not to be true to their vision. My response is I have better toys than they do and so do most mastering engineers. I just finished mastering Martha Davis's latest album and bless her heart, she sent me mixes with no dynamics processing. Because of that. I was able to tame some issues in the mix that would have been impossible to fix had the mix been compressed.
  3. If East West Symphonic Orchestra Play Edition responds to polyphonic aftertouch, you can edit poly aftertouch data in the event editor. It's kind of a PITA, though; a keyboard with polyphonic aftertouch would allow doing it in real time, and then you could just overdub or punch until you got it right. Note that the MIDI 2.0 spec has new types of commands that allow doing basically what MPE does, but with all the data is on a single channel, This makes it much easier to edit in a DAW. It's anyone's guess when this will become commonplace, but I highly doubt it will be this year.
  4. The biggest difference I see (and yes, this is a generalization!) I see is that old skool engineers asked "what if?", while new skool ones ask "how do I?"
  5. The Virtual Input is for loopback (only available with Windows, not the Mac drivers). There's an article that tells all in the PreSonus support section.
  6. Very few programs can serve as either a ReWire host or client, one that comes to mind is Ableton Live.
  7. @Jim - thanks for the mention! @Dave - if questions remain after reading the articles, I'll be monitoring this thread so I can answer...assuming scook doesn't get to it first
  8. First, thanks to the person who started this thread because those are excellent, free instruments. I'd also add the TX16Wx sampler, which is also flexible and free. However, the OP also underscores that there are plenty of free instruments, so Cakewalk doesn't really need to develop more. I think the main point is the suggestion that Cakewalk partner with the companies offering free software to include them in Cakewalk. That's an intriguing idea; Acoustica bundles some effects you can find on the web for free with Mixcraft. I don't know what's involved with creating that relationship with developers, though, and if included, then it would fall on Cakewalk to make sure the plug-ins worked with Cakewalk and didn't cause unforeseen problems. The need to do QC might be a stumbling block to making this happen. I'd REALLY like to see Cakewalk re-introduce Rapture Pro. I assume they would need to charge for it, because of the effort required to fix some of the loose ends. But it was an instrument with features no other instrument has, and can make sounds that are unique. I've tried porting some of my custom Rapture Pro sounds to other instruments, and it's not easy. Rapture Pro also has a ton of content available that's just lying dormant from companies like DSF, and of course, I did several expansion packs. They provide a wide cross-section of sounds for an innovative synth. Rapture Pro's six elements also make it ideally suited to MIDI guitar. Bring back Rapture Pro!
  9. Is there any chance that with a file of that size, you're running out of memory?
  10. There's an article on my craiganderton.org free educational site that explains how I got the M-Audio Fast Track Ultra working with Windows 10 and Cakewalk, hopefully the Ultra is close enough to what you have that the same advice applies.
  11. You might find this article helpful. It's important to adjust the transient markers to fall at just the right place. Chapter 8 in "The Huge Book of Cakewalk by BandLab Tips" (link in sig) covers AudioSnap, along with some specific information about quantizing guitar parts.
  12. Try entering the number of beats in the Loop Construction window. Sometimes Cakewalk misses by a factor of two. Just out of curiosity, is the loop a Groove clip or a REX file?
  13. Thanks...I knew that function was in there somewhere, but couldn't find it because I kept looking in MIDI-related prefs. And because I didn't know what to call it, couldn't find it in searches.
  14. This is puzzling. With show note names selected, the keyboard on the left shows the same note as the note in the roll. Maybe this relates to the octave name for middle C in MIDI not being standard. The note value for middle C is standardized, and always 60. However, although middle C is called C4 in most devices and DAWs, others call it C3 or even C5.
  15. That's a better way to do things in CbB, I didn't realize Exports were always made from the Master bus when you selected Entire Mix. I've always exported using Hardware Outputs as the Source Category, that seemed safest to me. Good to know there's an alternative. In Studio One, you can't route the Main bus to another bus, so that technique wouldn't work in SO. You always export from the hardware outputs.
  16. See my response, both Cakewalk and Studio One have Quick Grouping so that routing one track to a bus routes them all. But there's another advantage to the "dual bus" approach. Some people like to mix through mastering effects, like a limiter or maximizer, to get a sense of what the song will sound like when mastered. However, I don't want to actually export through effects, I want to export with nothing in the master bus because I treat mastering as a separate process compared to mixing. By using two buses, you can have your Cakewalk and eat it too - export a clean version for mastering, but also include effects and Sonarworks while monitoring. And BTW, isn't Sonarworks effing cool? I got the version where I could also calibrate my monitors. I was impressed that the sound through headphones and speakers was pretty much the same. The one caveat I have is that headphones of even the same make and model can vary quite a bit. This is why the Sonarworks profiles are indicated as "averages." If you do this for a living, it may be worth biting the bullet, sending your headphones to Sonarworks, and paying them to run a profile. Since I can profile the speakers, I just use the headphones that sound the most like the sound coming out of the speakers.
  17. Pipeline is absolutely not necessary. scook's advice is similar to what I do in Studio One a described below, and you can do the same sort of thing in Cakewalk. 1. Create a bus, and assign it to the same hardware output as your Main bus (in Studio One, this is done in Song Setup). Insert Sonarworks in this bus (we'll call it Sub1). 2. Select all your tracks and change the output of one track to Sub1 instead of Main. Like Cakewalk's Quick Group, this causes all the tracks to terminate in the Sub 1 bus. 3. When you're ready to export, select all your tracks, and change the output in one track to Main instead of Sub 1. Export from the Main out. A benefit of having a separate bus is you can match levels more easily when Sonarworks is active. BTW I also use a similar technique to get around Studio One's lack of a Dim Solo function - create a dedicated Dim Solo bus that goes to the same hardware output as the main bus. I can switch the track I want to Dim Solo to the Dim Solo bus, and reduce the Main bus to whatever level is appropriate. This can actually be better in some situations than having a fixed volume change for a global Dim Solo function, and you can do it in Cakewalk as well.
  18. Hmmm...last time something took a while, it was revamping the audio stretching.
  19. I remember with SPLAT installs that it would overwrite custom content like track icons I made. I don't recall if CbB does the same thing, but you might want to make sure that anything you created is backed up.
  20. I often mention at seminars there are many things Cakewalk, which is free, can do that most other DAWs can't, like generate stretchable files (I think only Acid and Sound Forge can do this). Even if you use a different DAW, it's worth downloading Cakewalk IMHO.
  21. I just posted a new article on getting the most out of loops and loop libraries in Cakewalk by BandLab, I hope you find it useful. It's a little too long to just put in a post.
  22. I did a search and found this. Does it happen when you open the program? Did something precede this starting, like installing a new program, Windows update, etc.? Do you have the latest W10 update? Error code 0xc0000005 is one of Windows very broad errors. This is because it can be caused by different factors related to an installed program, installed hardware or both. The following are just a few of the many possible causes: An installed program such as the antivirus program that prevents the smooth start of a program. Either corrupt or missing hardware drivers. Incorrect system hardware configuration. Either low memory or damaged RAM Virus/Malware infection. An old program. Corrupt or damaged system registry files. Data execution security feature (DEP).
  23. If you use Windows drivers for CbB, then the volume control should have an effect.
  24. Like other pre-BandLab instruments, where sounds and files are stored is pretty arbitrary. If you moved your sounds somewhere to save space, or moved any of the folders SD3 wants to reference, or messed with the file structure in any way, you'll probably lose things. I ended up moving all my SD3 content over to a separate drive, and added an mklink where Cakewalk looks for the sounds.
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