whoisp

So what about the current Cakewalk, will it still work? But basically one day when we update windows or load a new plug its will stop working or something along those lines 

Beautiful, Intro is sublime. Just my brain, at about 27sec when it drops in, my mind is telling me something but i don't know what, maybe just acoustic with no bass for split second or a pause to a slide down on bass with acoustic comes in, silly i know might be just me. There a couple similar places like this where there could be the split second pause for a big hit for greater emphasise, don't get me wrong love the production, it tick a long nicely and you probably tried it, but sometimes these gaps work or don't.  I am only nit picking because you asked haha great work

Basically Pow-r3 as lots of dynamic range (*Smother)  and Pow-r1 is more squashed for dance (Lounder) 

6 hours ago, DeeringAmps said:

all these are “dithered”

1) 48-24, this I call “high res”

2) 44.1-16 CD obviously 

3) 44.1-16 mp3 and I use the 320 setting, this is the file I put up on my website.

 

t

I still bounce MP3 at 48 (320)  highest quality possible you will notice the width is much better on test and less anti aliasing problems with sibilance, not that i use mp3 only to send to friends for demos over wattsapp etc 

Differing i use POW-R 1 as there seems to be no difference to 3 but im told its better to use Triangular for the perceived  loudness where im sure loudness would create more noise and dithering logically, which is not a good thing

What differing you sue tom?     

3 minutes ago, DeeringAmps said:

Common practice for years! Given the speed and power of “modern” hardware it “shouldn’t” be necessary, but troubleshooting “issues” is a buzz killer for me. Tracking vocals and guitars, it just “makes sense”, for me. 

t

100% with you, same for guitar an bass. Doesn't matter how great our systems are, loads of tracks, automation, fx and plugins can eat engine load and processing.  Some plugins are very naughty haha 

36 minutes ago, DeeringAmps said:

NO!

I’m 48-24, render at 32. There was a time when “checking “ the 64 bit double precision could cause issues. But it’s “best practice”. For some reason I mistook your post to mean you were rendering at 24 bit. My guess is that in a “dense” mix it probably doesn’t matter. 
Let’s face it, the “good old tape days” were “noisy”, every pass degraded the signal…
We live in the “golden” age, but just can’t see the forest for the trees. 
(trite, I know, but the truth nonetheless)

Take care my friend, always a fan!

t

Yes we can become bogged down  in tech settings with DAWS and devices. I still will mess with my buffer for mixing vs recording. On a busy project i might bounce project and automation down to one track so i can track vocals.   I like to have a stable system so i can just get creative.  I still get the odd crash but its normally me rushing in a busy project or a problem plugin.

I still bonce my -6db  premaster 48/32bit  but there is little difference  on imagining to check loss even if i bounce pr master at 24, very rare a issue. 

The only loss what i use to get is repeatedly bouncing down samples i created.  I use to have a sample project for creating my samples to then export them in to projects after bouncing. Like an idiot, i  didn't realise i could bounce a track(s) and "automation" to a new tracks within a project durrr.  So i was using patches and sends to record etc old school. So now my samples and tracking i do in same project im working on. I only used short cut key bounce (no automation only clips) and never new i could bounce automation with track menu, embarrassing  lol

1 hour ago, DeeringAmps said:

@whoisp So you are recording at 24 AND bouncing at 24 as well?
Evidently, from a technical stand point, this allows "errors" to "build up" and eventually "affects" the
sound "quality".
Well duh, everything we do is "meant" to affect/effect the sound; yea?
If it sounds "right", it is "right"; print it!

t
 

I only can record at 24bit my SPDIF and Audio interface are 48/24 stable, i use the 64-bit Double Precision Engine in project for maximum dynamic range and precision but bonce back to  48/24 for digital platforms and video. I create my samples with in the project  which is set to 32bit render so there's min loss. I think i defaults at 32bit floating point is the internal processing protocol that Cakewalk employs anyway but it is set at 32 

Would you set record to 32 even though my ad on 24 

48 minutes ago, DeeringAmps said:

And @whoispif CbB is is setup Record 24, Render 32; every bounced track is 32 bit, so the notion that recording at 32 is a huge resource “hog”? - it’s no big deal…

I’m a “hard” 48-24, but it’s “your” dime. (Read “your” as the royal y’all, if you get my meaning)

t

Sorry i was meaning using 48/24bit files instead of 32bit files. Meaning  if i remember, 32bit takes about 33% more storage space? If you keep rendering every thing off in 32bit .i.e if you create your own samples like i do and use loads in a project like i do with lots going on, automation plugins and FX etc project gets big and slow. I do say some where in the thread keep files and all setting to 48/24 just so everything a standard.  CbB does have the 64 DPE which i use

5 minutes ago, Glenn Stanton said:

whale farts. look it up. prove me wrong 🫠

anything that eats and shits ..... passes gas but im not sure the fart dynamic range that can be represented by a 32-bit (floating point) file is 1528 dB 🤣 but you could get some sonar blip  at 700khz 

10 hours ago, John Vere said:

I absolutely believe that 48/24 is the perfect choice for me.    

And when it becomes the standard I’ll bump it up to 48/32 

I am not sure why anyone would need more, current DAW with PC and software does not benefit from anything more. 24-bit audio recordings can capture a dynamic range of up to 144.5 dB and you don't need more than that in music on any digital platform. Meanwhile, 32-bit float audio can capture the absolutely ludicrous range up to 1,528 dB. That's not only massively beyond the scope of 24-bit audio, but it's beyond the scale of what even counts as a sound on Earth that will eat your file system when tracking to record etc 

2 hours ago, John Vere said:

@whoisp I enjoyed reading your post. It had a few points that related to my past experiences with the dawn of consumer digital gear.
As I said earlier I was using 48 to master to a Sony DAT machine which had replaced my 10” reel to reel. I could definitely hear the improvement overall and mostly it was because I now had that nice clean and quiet sound. And a small item to mail in to replication people. 
Shortly after I bought the Yamaha o1v digital mixer and discovered it was set at 44.1 for SPDIF output. Dang. So I would mix both a 44.1 master via SPDIF and a 48 which involves D/A out to A/D in. Guess which one still sounded better.  
 

Later I got my first PC and soon was using Wave Lab and started transferring all my masters into Wave files. The Sound Blaster Audigy II card had optical inputs so I used that to transfer the DATs.
I had already transferred my 10” tape to DAT at 48. 
I assumed they would be 48 but many years later I discovered that they are only 44.1. I have no clue why but no doubt the Sound Blaster is to blame.  
I later yet replaced that with a Interface that had SPDIF and used my O1v as the pre amps so a lot of stuff was recorded at 44.1. 

In my experience SPDIF is always 44.1 however some modern system where being upgraded to what we was sold SPDIF 48khz and some devices did not work,  i am guessing there is something in the PCB chain given its hardware that caused issues.  We always got issues when set at 48, sometimes the internal clock and the optical SPDIF clock would create driver and compatibility problems, the days when you wanted to hit device manger with a hammer. 

There was a time we always got random phantom clicks in recording, tuned out wifi was interfering with the SPDIF hardware and optical cable. We was like great SPDIF no noise from jack plugs etc then we had a phantom click lol We mess about with all the technology to plug a guitar or mic jack plug in anyway lol

What I can tell you working on, pre, post and live broadcasting for ITV as a sound and video engineer. The reality is we want 48/24 for video and music, less issue with dynamic range loss and anti-aliasing can be a real problem, especially with digital platforms. If you need to know more anti-aliasing varying factors with loss and noise read about Nyquist frequency is a good start.

Why we often resample 44 up to 48 due to those above issues, but why use 44 in first place and resample you ask. Well only because some studios use a desk that have SPDIF or ADAT at 44 or gave us CD or Digi Tape at 44 and not 48 due to upgrading studio is costly. Don’t forget, you lose some of that vintage tech classic sounds of the pre amps etc with some old gear. 

i have a desk with AD Conversion: [24 bit Guitar/Bass]  [24 bit phantom mic (Mic)] [24 bit (Line)] [24 bit (Simul) great desk pre amps ] back to DA Conversion: 24 bit with Internal Processing: 24 bit (digital mixer section) however its  limited to SPDIF  44.1 kHz  so i take a line out to 48kHz  s to bypass the SPDIF as a hybrid work a round 

48/24 is not about our ears, we can’t ear the difference from 44/16 but the digital world does due to things like Nyquist frequency, plugins, software algorithms etc, why we get issues like anti-aliasing, drop outs and much more with massive file size when we push our sampling with audio and midi.

If i use the SPDIF,  you have to set the cakewalk project, interface and system drivers all to   44.1 kHz or its will create noise, anti-aliasing, cackles and drop outs. That is important to note when working with any standard make sure everything is the same standard or you will get bugs and issues. Cakewalk project, your interface drivers and system drivers are all set to your preference which should be 48/24 and why i bypass SPIDF as im forever changing my setting if i don't and you want a stable system first.  Some interfaces have a higher internal clock than 24-bit but i say 48/24 is a safe mode standard 

At one time, 44/16 was better due to CPU restrictions of audio interface, hardware and CPU etc.  48/24 can still be pushing CPU restrictions mixing with large recorded sample files size, plugins and loads of tracks (play/record tracking hammers your system) but everyone should be on 48/24 standard really unless you have NASA power and hardware, 
 

23 hours ago, Supa Reels said:

Great song but vid is too disturbing for my taste ..

Steve

The reality of it is more disturbing for sure, and governments are still causing wars 

On 10/23/2023 at 1:23 AM, freddy j said:

You never fail to impress with your posts.  This one is most certainly not an exception. The topic is an important one and the song, video and entire production certainly gets the point across. 

Impressive work!

Thanx Freddie, ive actually got a job from this song bizarre yesterday, to do a track for a singer in the Philippines and now have to write something in the key of A Major for a young lady that ive not seen or heard lol

On 10/20/2023 at 3:49 PM, Lynn Wilson said:

As always, you've given us a cool video with thought-provoking lyrics.  Your work has given me the impetus to do better!  Keep it up, and you'll get that mojo back.

Cheers lynn  

Nicely polished with great space. I am liking the Indie edge vibe that's coming through on all your work. 

PS: i am digging all your guitars, iv'e always wanted a Les Paul im still suffering on a squire strat and a Tanglewood jazz box haha 

20 hours ago, Bajan Blue said:

Hi

Great stuff - loved it when the guitar solo started around 1.40

Cool video as well

Nigel

 

Cheers Nige, i didn 't know what to do so had a noodle 

13 hours ago, treesha said:

I like to “feel” the music and find working on monitors energizing, but i do check on headphones near the end of the process. Monitors are just more enjoyable to me. 

That's how i feel with headphones, shut the whole world out and just feel the music and nothing else.  

1 hour ago, DeeringAmps said:

Good question p!

 I “check” on cans, buds, and even the iPhone. But I still prefer “working” on the monitors. 
Old man, old ways die hard…

t

It's funny, i now preferer doing everything on headphones and will only test on speaks, its how we train our ears i guess 

Boeing CH-47 Chinook, tailgated one on those beasts 

According to statist survey, 87 percent of the respondents use their headphones to listen to music. In fact in the workplace, 93% reported wearing headphones to listen to music. You haev more and more engineers now mixing on things like air pods and a quick test on monitors which i find interesting.  Appears more and more musicians, engineers, and producers do it all the time.

14 hours ago, Kevin Walsh said:

I've written lots of music. Unfortunately it's all dreadful. I don't know which is worse, to produce nothing or to produce nothing but sewage.

12 hours ago, mettelus said:

Don't feel bad... all of the music that comes from my other end always becomes sewage as well.

I did manage to finish this at the weekend and in the irony called it The Minds a Battlefield which is how its been feeling 

3 hours ago, Tim Smith said:

" The Mind Is  a Battlefied" indeed.

Nice production and ceativity in putting it all together. Good luck with it and thanks for sharing.

Cheers Tim, first track for about 3months but im still not feeling like my music mojo is back 

6 hours ago, treesha said:

Sounds great, the mix is great, enjoyed it even if some serious content. Groovy. very well done. In the video a few times your mouth movements don't match the song but its probably ok and maybe intended? At the end, the phrases you posted, I'm not familiar with that situation at all, but wonder if the first sentence should read 'never" where you have "ever" but again I'm not familiar with that situation. Good to see you back at it!

Yes, the video sync on the vocal got nudged in the render for some reason, gives a talking point haha

I guess context of  ever "at any time" when never is more so past or future and there is still time  as its in the process, but i am no expert in legalese code 

The Minds a Battlefield, got a bit of meaning behind it and here's the metaphorical context lol