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Lord Tim

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  1. My v12 plugins crashed badly too, this is on a clean system with no prior Waves installs too. I uninstalled and put v11 in, and all is rock solid now. There's definitely something funky going on with v12.
  2. This is going to sound snarky and unhelpful (apologies for that!) but... what does it sound like to you? There's really no guide for saying something should be X amount of dB louder or the wave display should look different, it's all about how it sounds in the end that matters, and that'll be subjective to every listener. Now adding to that, this is all down to personal taste for a start, and - probably more importantly - what's right for the song you're doing. As a good example, if you're doing a huge wall of sound tech death metal song or pumping EDM track, your file is going to look like a solid brick and be utterly slammed - and it should be, that's the intent of those styles (generally). Do that to a folk song or a really dynamic jazz piece and you'll get run out of town by everyone because it'll sound terrible. Those styles need dynamics to work. Listening context is pretty important here too. If you're sitting in front of your stereo and appreciating all of the dynamic ebbs and flows, that's great - the extra dynamics are probably going to add interest to the song. On the other hand, if you're sitting in your car in traffic you might find that your quiet sections will go away. This is really a long-winded way of saying "context." What sounds right to you? How will you (or your audience) be listening to it? What is the goal of your mix? If you can answer those questions, then that'll answer your original question.
  3. When you do the @ make sure you immediately type their username right after and then wait for a names list to pop up, then click on the username you're wanting to tag. Just typing it doesn't do anything, as you've discovered. @Teegarden
  4. For professional interfaces with good ASIO drivers, that's almost always going to be the best choice to use. On the other hand, if you're stuck with something like an inbuilt Realtek soundcard, the latency is now substantially better using WASAPI. There's been a lot of other optimisations with large projects and timeline scrolling too, so while the latency may not be better in your case, it'll generally feel snappier than SPlat I'd say.
  5. I found SI Drums extremely loud compared to a lot of my libraries here, so it's most definitely quiet in comparison. I've got a hybrid kit template of SSD and Addictive Drums for my drum template (there's nothing that touches the toms on SSD I reckon, but I don't like the SSD cymbals a real lot, especially for long sections of crash cymbal grooves), and a few custom samples being triggered as well. Everything is run out to their own tracks where I'm running compressors, EQ, etc on it all, and I'm finding it pretty decent levels wise. Try upping the gain a little on each output if you can, that might help a bit. Alternatively, run everything to a drum buss and crank that a little bit (or put a limiter over the top if you're not worried about playing anything in real time due to the latency they typically add to a project) and see if you can match the levels you're expecting.
  6. Lord Tim

    Reverse lag?

    My vote is to shoot support a message. This obviously isn't widespread or the forums would be on fire right now, so it's got to be something specific to your environment. There's really only so much we can suggest without being a bit more hands on with your system like support can be. These weird outlier cases are horrible to diagnose, but if you can solve it, often there's a good knock-on effect for everyone - if the issue actually does work out to be some shortcoming of the CbB engine and it gets fixed, we all win. But yeah, shoot support a line I reckon. If they solve it, definitely report back here - I'm sure a few of us are keen to know what the solution is!
  7. Great advice right there You might find that you'll get better luck by using impulse responses and an IR loader rather than the built-in cab simulation. But proper gain structure and EQ, as well as a good DI signal in will go a long way to getting a great tone.
  8. Derp. I was right-clicking and selecting Delete rather than pressing the Delete key. Am schooled, and glad for it.
  9. @scook will likely be along to tell me I'm wrong and there is a way (HAHA) but while you *can* select multiple nodes by right-click-dragging around them, if you try to delete them you'll only delete the first one. The info *is* in the page you linked to: ... however, there's a LOT of information on there, so it's very easily overlooked. This is really one of those things that you kind of just pick up over time and incorporate into your workflow, and forget how you even know this in the first place...!
  10. Or, make 4 nodes, and in the section you want lowered, hold down CTRL while you drag down on the automation line and it'll move the entire section.
  11. Yeah, I have to agree with the sentiment here. I think the features that are being prioritised are ones that benefit ALL of us rather than a subset of users. And if I was a dev looking for stuff to do, @Maestro's list is a solid one. For the record, I'm not at all opposed to adding in things like samplers and that kind of stuff - I'd certainly use them, and for those people who rely on that kind of thing, it would be great to have, and would be a fantastic addition to CbB. But this is now free software, and as yet none of the paid add-ons are up for sale. If Bandlab were aiming for a huge market share or to recoup their investment, they're either the WORST businessmen ever (which seems unlikely given what the company is worth) or they have a completely different plan to what paid/subscription software usually does. At the end of the day, why force something to work how you want it to? A Ferrari might be fast, but if you need to take 25 kids to a soccer game, you're probably going to get the job done faster in a mini-bus, even though the other vehicle would run rings around it in a race. CbB is a fantastic DAW that can easily take you from nothing to final master, with some workflows that are superior to other DAWs, and others that are sorely lagging. Just like every DAW. There's no rule you have to use just the one DAW, right? You wouldn't use a multiband compressor to EQ a mix - sure, you can, but an actual EQ plugin is far better suited to the task. A DAW isn't really that different to using a different plugin to achieve the goal when you think about it.
  12. OK, let's try a different approach then and make it relevant: Upload some unmastered music, and someone who does mastering could do an example master and explain their reasoning and method to get there.
  13. It's hard to give any kind of technical contributions without A: hearing the material, and B: knowing the goal. I could easily say "You want to strap a Linear Phase EQ over the master buss and boost 60Hz, and apply 2:1 ratio compression, correct the stereo image, and then add 6dB of limiting and dithering to 16 bit at the end of the chain" but what does that mean? How does that apply to anything? Even knowing half of the picture isn't useful. If someone gave me a really open sounding jazz piece and I mastered it like a death metal release, it would be slammed to hell and sound awful. Understanding the goal is just as important as understanding the steps to get it there.
  14. I can think of 2 great related examples from the hard rock / heavy metal world: Dance of Death by Iron Maiden and St. Anger by Metallica. With Dance of Death, they mixed it (with Kevin Shirley, so not exactly a green engineer by any means) and sent it off to mastering. They got it back and the band basically said they liked the mix from the desk better and put that out as the actual audio release. Now the mix is... fine? But it doesn't have the polish that their other releases have, and on some speakers it's pretty uneven. This is a great example of the band being too close to the product and ignoring the best sonic interests in the end. They've since come around and mastered everything since, mind you. I think everyone even slightly acquainted with Metallica will know what a debacle St. Anger was. In defence of the band. it was exactly what they were going for: raw, ugly, unprocessed... and they got it. No amount of high end gear or mastering was going to save this recording from being anything more than sounding like a very expensive demo. If any unknown band put something like this out, they would be crucified for it and told to go re-record it properly. Regardless of that, both of those albums were massive. On exactly the flip side, you can go massively OVER-produced and overblown too. Spending a year on your snare sound or getting rid of every little drum ring, or correcting timing for every part so it sounds perfect is probably the antithesis of what rock is. Unless you're experienced enough to tell yourself when to shut up and just get on with it, you can dig yourself into a massive sonic hole pretty easily, both with mix AND master. I know I've done this in the past, and I know how easy it was to get myself into that mess. Having an outside perspective is sometimes crucial for a sanity check, and having the ego to be able to accept that check is just as important. We all have the tools to do a pro job ourselves these days, and some of us are lucky enough to have a great sounding studio space to make informed decisions, but it's that last sanity check that's usually the big decider as to who should mix or master your stuff.
  15. Both @Craig Anderton and @marled are on the money - how much you cut is really dependent on the material around it. If it's a very sparse arrangement and you're going for a natural sound, you might leave more of the low end in there (getting rid of any problem frequencies like rumbles or proximity effects with certain mics, etc.) but in a dense mix, you can certainly stand to cut both male and female vocals a lot higher and more aggressively because you won't really hear that cut in context, and it'll clean things up considerably in the mix.
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