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Lord Tim

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Everything posted by Lord Tim

  1. It's fairly common to run a compressor over busses, even the master buss. Some people use these as "glue" compressors since it kind of crushes the sound to tame some transients and make it seem thicker, and "glues" the mix together more. I personally don't like to use single band compressors on the master too much, preferring to use a multiband so I have a bit more flexibility for what frequency area I want to crush, how much attack and release, etc., but I've been in a lot of mastering studios where it's common to use a gentle single band compressor first to "knock the tops off" of the transients before you send that to the final limiter. Running a series of compressors rather than trying to do that all with one set more aggressively can make things sound a lot more natural. For anything I master here from other clients, though, I'd really recommend hardly any to none on any mixes I'm given. You can't bring back the dynamics on a mix that's been squashed too much, and it's really easy to go too far if you're fairly new to using compressors on the master buss.
  2. This is stuff we've done a lot over the years. It's fiddly but if you approach it in the right way, it's fairly foolproof. Basically, it's like people have said here - you'd split the MP3 as the drummer mix with the click on one side and the front of house mix on the other side. To do it right, you'll need a cheap mixer or you have a world of potential issues to deal with (which isn't to say it won't work, but your chance of failure will increase). So, get your mix together and set up 2 BUSS tracks: Drummer and FOH. Send those to your sound card outputs. Set them both to mono, pan Drummer 100% left, and FOH to 100% right. Change the output for every track except for the click to go to FOH. This will be what you're sending to the audience and whoever else wants it (say, the foldback speakers across the front of the stage). Bear in mind that if you have any tracks with crazy stereo effects, it might be best to set those to mono or it could sound a little crappy once it's all folded down to mono at the end and panned to the right in your FOH Buss. Set the click track output to go to the Drummer Buss. Then, go through any other track you'd like the drummer to hear and add a send to Drummer Buss and set it to PRE. That's going to be the mix you'll want to send to your drummer. The reason I'm suggesting PRE rather than POST is that typically you'll want the click track BLASTING loud and the balance to be a little different to what you'd send out to the front of house. So those sends will kind of be a completely independent mix to what you're sending to FOH. At this point you can mix this down to an MP3 and have your drummer mix on the left, and the front of house on the right. And you could play that back with an iPod or whatever, with a split headphone cable sending one side to the drummer's headphones and the other side to the mixer. But where this is a problem is that you'll need to make sure the mixer side is running through a DI so you're getting the proper signal levels, and the drummer will either only be getting audio in his left earphone, or if you've set it up so the channels are joined, we found there's a good chance on some players that it ends up giving you all kinds of bleed, and worse, it may not actually be loud enough if you've got someone who hammers his kit. What I'd suggest is running into 2 channels of a cheap mixer. Run the left output into channel 1 for the drums, and the right output into channel 2 for the front of house. Typically those little mixers have balanced outs so you should just be able to plug an XLR into it and you're all set. Drums, you should be able to plug your headphones into the phones out and you'll get HEAPS of level for the drummer. The only real gotcha here is the routing can be a little weird on some mixers so you're getting independent outputs. As a good example, we used to run a Mackie 4 channel mixer. The click/drum send would go to the drummer via the headphone output, but we had to send to the front of house vix an Aux send on it, because there was no way to split the channels and have them come through both ears of the drummer's headphones without that. Your mileage will vary from mixer to mixer though, but I definitely recommend that over a split cable thing. The other option you could try is dragging a laptop on stage and running the outputs of your soundcard directly to each place while the mix is playing back, It's a little more risky for problems to appear during a show, but you have complete control over who gets what then, and taking a lot of steps out of the equation. Not recommended if you don't have a beefy machine or a soundcard with good drivers and decent headphone preamp / balanced outs. Hope that makes sense!
  3. Sorry @Ben Staton, I tried that when it happened to me last and it remained stuck unfortunately. The only way I could even get the audio to stop playing at all was ending the task, which obviously killed CbB. In a way I wish this happened more often for me, because it's extremely rare, and usually when I'm in the middle of something deadline-crucial so I can't do more tests.
  4. The zoom window stays visible for me.
  5. Can confirm that I've seen this behaviour too. It's only happened a couple of times but it's pretty annoying. I'm wondering if an ESC key exit from that function might be a good idea?
  6. Absolutely agree. I set CbB up on a new machine recently and I had no idea what was going on with the downloads until they actually started installing.
  7. Yep, I hear you - I asked for this too, and I believe this was added last year sometime. You need to insert an MCI event in the Event Viewer, which is easier than it sounds. @msmcleod - is this something you could explain properly?
  8. Let's not jump to conclusions just yet - if it was a bug in the EA then we'd all be complaining about it, yeah? The trick now is to narrow down if it's something on your system that's a problem, something on your system that's exposing a problem in the EA (which is the point of this - we want the proper release to be stable, right? That's kind of our jobs if we're trying out these releases) which we can explain to the Bakers so they can fix it, or something has borked during the install. Can you give more info on your system and what's happening exactly?
  9. Yeah, I've seen this maybe twice. It's so random it's a really difficult thing to report, and I could never to get a consistent recipe to reproduce it. 😕
  10. Yeah, listen - I was told I'm not supposed to leak any upcoming features, but... well, it's DEFINITELY the Cakewalk Hovercraft we've been promised all these years (now as a Pro Channel add on). You heard it here first!
  11. Let's not talk about how it's curved, just in case she says anything else... 😒
  12. I have a 32:9 curved monitor and for the most part it's pretty great. Only 1080 high though, and at essentially 2x 27" HD monitors stuck together, things are just that touch too large for me - I'd recommend a 1440 over a 1080. That aside, being able to have views open that you'd ordinarily have to close to persevere screen real estate is great. CbB isn't so bad since the Skylight interface is pretty well made, but things like After Effects or Premiere Pro where you'd ordinarily be switching tabs to get to certain effects or parameters is wonderful just having them open in front of you. The first day is weird using CbB since there's just... so much in front of you to look at 😐 but when you get used to it, it's really hard going back to anything smaller. I rate it! 🙂
  13. ^ This. CbB exposes the names that your audio interface gives it, and that's usually named in stereo pairs, so what you end up with is weird names that seem to skip numbers. What it really is: Input 1 is really 1 (left) and 2 (right) Input 2 is really 3 (left) and 4 (right) etc. So look at your input list and you'll able to work out the "missing" channels. What you might find helpful is going into Preferences > Audio > Devices and checking Use Friendly Names to Represent Audio Drivers and going up and double clicking each input and naming it something a little more sensible (eg: the first channel of my interface is exposed as US-16x08 ASIO IN 1, the second is US-16x08 ASIO IN 3 etc. and what I've done is renamed the first one In-1L/2R and the second one In-3L/4R, etc. MUCH easier to read and keep track of.)
  14. The "what is the business model / how do they make money" thing comes up so often, it should really be a sticky or in the FAQ. It's a fair question, though. Firstly, just to address the Bandlab Assistant thing, when CbB was first integrated into it, it would auto run with Windows start. A lot of us complained and it was fixed. The other thing that freaked a lot of people out was the software went into "demo" mode sometimes, which wasn't really named particularly well. That was also modified in a big way. Basically, you only need Assistant to first install CbB and activate it, then it checks in periodically to make sure you're using an up to date version. The dev team is far more streamlined now than they used to be, and with the pace of new features and bug fixes that's coming in now, trying to keep half a mind on a version from 18 months ago where a lot of the problems people might be reporting here will already be fixed is a huge waste of limited time. It makes sense that everyone is on a relatively new version. The other thing relates to "it's free, how are they making money." If they can check activation, they can see how many users are using the software. It's kind of a no brainer for a business to know who their users are, really, and from what's been said in the forums, the core Cakewalk program will remain free, but a lot of the add ons that used to come with SONAR may be available for sale in the future some time, so knowing who your users are and having a way of contacting them is just smart business. But don't take my word for it, here's a bit of reading from the old forum (scroll down in the thread) where Meng, the boss of Bandlab, chimes in about it: http://forum.cakewalk.com/Cakewalk-by-BandLab-free-but-will-next-updateversion-cost-us-SONAR-userscustomers-m3744438.aspx#3745236 And the CTO here: Disclaimer: I don't work for Bandlab - I'm just a regular dude that uses the software like the rest of us here, so I can only go on what I've been told. But any one of us that have been on the forums for a fair amount of time will know the people making CbB are genuine and simply care about making it better. I have to say that's a big part of why I've been so loyal to the product for so long. When Gibson pulled the rug out from everyone a couple of years back, from everything I've seen, everyone that managed to resurrect Cakewalk have all been doing it for the right reasons. I'm happy to see where it all goes.
  15. Bandlab Assistant (BA) is really only needed for 2 things: Installing Cakewalk by Bandlab (CbB) in the first place, and periodically checking activation (about every 6 months or so). It doesn't need to run at all when you launch CbB after that, and doesn't start up with your system automatically anymore. CbB has had a LOT of stuff fixed and added to it since SONAR was shuttered. Some bugs that have been around since the pre-X series days have finally been addressed and for the vast majority of us on here, it's the most stable it's ever been. And for the odd cases where things aren't quite so great, you'll see heaps of devs on here directly answering questions or getting feedback to actually get to the bottom of the problem, rather than sweeping it under the rug. Definitely worth revisiting!
  16. Yeah, that's crazy big. The .CWP size has no bearing on the bitrate or anything like that - it's basically a document with pointers that references the big audio data elsewhere. Are you definitely saving as a Normal Cakewalk Project (CWP) rather than a Cakewalk Bundle (CWB)? It's not out of the question for a bundle to be that big and take ages to save.
  17. Lord Tim

    Some ideas

    I find it a bit odd having that behaviour. Things should be pratical. This is by design. The scroll wheel is used to move around the active window usually, or to scroll through track headers, etc. Imagine if you're scrolling a track list and your mouse goes over the volume fader and you change your mix by accident. Having to actively make a decision to select the control you want to affect definitely stops unwanted changes.
  18. You might be able to rescue it by doing a bit of spectral editing using something like Adobe Audition or Audacity (free). Have a look here at the manual: https://manual.audacityteam.org/man/spectral_selection.html Sometimes you can get some pretty decent results if you can home in on the noise you don't want, other times it destroys too much of the original sound you want to keep, but it's certainly worth a look considering it's a free tool.
  19. I ask myself that "why am I doing this again" question every damn time 😑 Haha!
  20. Sure, is - just select everything you played on the track, then go to Clips > Bounce to Clip(s) (this is in the menu above the track pane, not the main menu at the top of the screen). And that's it
  21. It depends on how many, and what kind of vibe you're going for. If it's just a couple, I'd treat them all like a lead vocal - compress, EQ, possibly de-ess and add a little hair with saturation blended in. It's all really to taste. I'd usually go Compression > Saturation > De-esser > EQ, but if it's a particularly "woofy" or bright mic, I'll add an EQ first before the compressor to get rid of the junk I know I won't be using, so it's not affecting how the compressor "hears" it. I'll usually pan each one a little off centre just to give them a little bit of space. On the other hand, if we're talking Queen / Def Leppard kind of layers, the first thing I do is aggressively clean up between any phrases. Those little breaths or lip smacks on the vocals? Multiply that by 50 and suddenly it's super loud and super distracting. Cut it close, crossfade, get it clean. I'll typically separate each harmony part into its own Aux track so if I have, say, 10 layers of vocals singing a particular harmony, I'll run all of those into it's own Harmony 1 sub group Aux track, and I'll pan those fairly wide. I'll repeat that for each harmony part, and then run all of those combined Aux tracks into a Choirs master Aux track. On that, I'd EQ first to remove the crud (there'll be a lot with so many voices), compress, add saturation (being careful not to go too nuts since it's already pretty thick), de-esser (you'll get a lot of sibilance build up) and then an overall EQ for everything. One big tip is to also do a "whisper" track, where I'll dedicate a few layers to whispering the vocal. You'd be surprised what kind of air that adds to the mix. For each of those situations, I'll treat them like a lead vocal with reverb and delay to taste, and I'll usually add some kind of slapback with chorus to fatten it out a little (not too much), each running in sends rather than on the tracks as inserted effects. It's rare but sometimes on the big choir stuff I might add extra chorus or stereo widening effects, if I feel like I'm not getting the size I'm after. A couple additional tips is don't be scared to aggressively high-pass everything. There'll be a lot of stuff you just simply don't hear in context. Adding a little bit of high shelf boost from around 6khz up can also add a nice sheen. If you're finding it's swallowing the lead vocal a little, try dipping the EQ on the choirs around the point where the lead vocal is mostly sitting (say 800hz?). It'll let you keep the loudness of the choirs but give the lead more room to stand out. And finally, if you're planning to do the 60 layers of backing vocal choir thing like I regularly do here, stop and have a word with yourself before you begin. Do you REALLY need this stuff? It's a crazy amount of work that gets old realllly fast when you're doing it! It sounds amazing, but it's not something you want to do "just 'cos"
  22. Post up a sample of the recording of the guitar, that will tell us a lot about what the problem could be. Just looking at that last photo, if that's where you're doing the recording, I would be looking very closely at trying this in a different/bigger room before you do anything else.
  23. @Starship Krupa - thanks for pointing out all of those helpful tips in the OP! I've done everything mentioned and yet I still seem to be using an operating from the 21st century. Should I try to force my ISA soundcard into the "NVMe slot" thing to make it work? I am using a laptop. Please advise!
  24. I've used Grindmachine in the past with some pretty great results - it may need a bit of EQing to have it sit in the mix but it's very usable, and great for modern styles of metal especially. The Djentbox pedal does a great job at tightening things up for percussive playing. I haven't tried anything since then, and I know Grindmachine II is out, along with a bunch of other new products, so I can only assume that things have gotten better since then. I've also had a lot of good results with freeware sims and IRs too, so don't discount those. Stuff from Ignite Amps, Poulin, and even CbB's stock plugins when chained together can sound IMMENSE. (Tip: You can make a Preset Chain with assignable knobs so you can design your own interface to control each individual plugin in the chain easily). The real key to making things sound great is your IRs. Again, some great freeware collections of metal-oriented IRs out there that you can load into something like NadIR from Poulin that can really make things heavy fast.
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