msmcleod

With the high pass, you're basically totally removing the lower frequencies - the real question is how steep should the slope be. I normally use a fairly steep slope for everything other than Kick & bass. Typically I'll engage the high pass around 100Hz - 150Hz and move the frequency down until I can't hear a difference between the high passed and original signal:

For distorted guitar sounds, you'll almost never need additional compression. If you're happy with the sound you have with TH3 then for the most part, I'd leave EQ as it is. The only EQ I'd personally recommend is a high pass filter (low cut) to remove any low level rumble. Most of this you won't be able to hear, but it'll be there with a fair amount of energy. Raise the high pass frequency until you can just hear it making a difference, then back it off slightly. Then I'd leave it as is until you can hear everything together in the mix. Only then should you worry about EQ, and ONLY in the context of the whole mix.

I'd recommend raising a support ticket for this - send an email to support@cakewalk.com

The only time I've experienced this is when using a laptop with the onboard Realtek sound device in ASIO mode. Switching to WASAPI mode in Preferences->Audio->Playback & Recording fixed for me.

I find the most common reason for this is that the export bit rate is set to 32 bit on the export dialog, rather than 24 or 16.

Have you got a vocal clip set to Absolute time?

The CAL script I posted should do it. Copy it into notepad and save it as something like ScaleVelMidC.cal in C:\Cakewalk Content\Cakewalk Core\CAL Scripts Select your MIDI clip and then press CTRL + F1 Choose ScaleVelMidC.cal It prompts for the percentage below middle C. To make it quieter, put in a value like 75 Then it prompts for the percentage for middle C & above - to make it louder, put in something between 115 and 125.

For a one-off I would go about it like this: 1. Select your track 2. Edit->Select->By Filter, and edit the note range for notes below middle C 3. Process->Scale Velocity (pick something like 75 percent) 4. Clear the selection & select your track again 5. Edit->Select->By Filter, and edit the note range for notes above middle C 6. Process->Scale Velocity (pick something like 115 percent) However, if I was going to do this a lot I'd probably knock together a CAL script based on C:\Cakewalk Content\Cakewalk Core\CAL Scripts\Scale Velocity.cal: (do (include "need20.cal") ; Require version 2.0 or higher of CAL (int percentL 100) (int percentH 100) (getInt percentL "Below Middle C Percentage?" 1 1000) (getInt percentH "Above Middle C Percentage?" 1 1000) (forEachEvent (if (== Event.Kind NOTE) (do (if (>= Note.Key 60) (do (*= Note.Vel percentH) (/= Note.Vel 100) ) ) (if (< Note.Key 60) (do (*= Note.Vel percentL) (/= Note.Vel 100) ) ) ) ) ) )

To get this to work automatically when committing or exporting audio, you need to make sure "Split Notes" is enabled in Preferences: The reason this isn't automatically applied, is so users can manually adjust the crop position of each clip if required.

When I was 1 or 2 years old I knocked my dad's Gretsch Double Anniversary down the stairs... snapped the top of the neck off. He got a local repair guy to carve a new half of the neck and fix it. I don't think he's ever forgotten that (or fully forgiven me!), but he has said the tone is surprisingly better than it was.

Sorry for the delay it getting back to you - just tried to update the firmware on my Graphite 49... it refuses to update to 2.5, but takes the V1.42 update with no issues. So no change to the graphite's behaviour. It's a real shame as the feature set is great and the key action feels fantastic, just a pity no two notes play with anything like the same velocity.

Java has libraries for dealing with SF2 - not sure about SFZ. What I do know is SF2 is a minefield for even an experienced programmer... but the Java libraries certainly make it easier to deal with.

I've not got mine set up right now, but is "Select Highlights Track" enabled in the MackeControl control panel?

My style dials disappeared after compressing my hard drive. IIRC the directory that needs to be uncompressed is C:\Cakewalk Content\Cakewalk Core\Style Dial FX

There's no real difference - it's really just down to what suits your workflow, or what is more appropriate for your signal flow. For example, I'll quite often use the track effects bin for effects that pertain to sound design, leaving the the pro channel for mix duties.

@Leandro - thanks for the video. We can reproduce the issue and will look into it.

@Leandro - can you PM me a copy of your project so we can check it out?

Are you sure your tracks are actually being sent to the "Main Vocals" bus and not the Master bus directly?

Again, not my genre but I think the mix is good. While I would expect more low end in this genre, the bass in this mix is still clear and well defined - it's certainly not lacking.

Did you bounce to clip(s) after stretching?

Actually my old Yamaha DS2416 cards are like that. It sends 32 bit data to the DAW... but the A/D converters are only 20 bit resolution.

Not that I know of... and in fact many interfaces only really sample at 20 bit due to the limitations of A/D conversion. 24 bit gives you a massive dynamic range for recording. I cannot think of any reason why anyone would need higher. BTW - the sampling bit width shouldn't be confused with the bit width used in when storing wav files or processing (e.g. 32 bit vs 64 bit). A larger processing bit width is used during processing to reduce rounding/truncation errors.

I'm really tempted to get a replacement for my DIY e-drums (which is a modded Remo practice kit connected to an Alesis DM-5)... been looking at the Alesis Nitro Mesh, but hardly anyone has it ATM..... although I might just save some £££ and get the Turbo Mesh.... decisions, decisions...

If you're using MONO inputs: Left MOTU Audio ASIO Analog 1 = Channel 1 Right MOTU Audio ASIO Analog 1 = Channel 2 Left MOTU Audio ASIO Analog 3= Channel 3 Right MOTU Audio ASIO Analog 3 = Channel 4 Left MOTU Audio ASIO Analog 5 = Channel 5 Right MOTU Audio ASIO Analog 5 = Channel 6 Left MOTU Audio ASIO Analog 7 = Channel 7 Right MOTU Audio ASIO Analog 7 = Channel 8 If you're recording STEREO pairs: Stereo MOTU Audio ASIO Analog 1 = Channel 1 (L) + Channel 2 (R) Stereo MOTU Audio ASIO Analog 3 = Channel 3 (L) + Channel 4 (R) Stereo MOTU Audio ASIO Analog 5 = Channel 5 (L) + Channel 6 (R) Stereo MOTU Audio ASIO Analog 7 = Channel 7 (L) + Channel 8 (R)

@Ryan Heath - Here's the except from the 2019.09 release notes: