Glenn Stanton

yeah, it depends on how many tracks you're recording at any one time. for me - i can only do 16 at the same time. so moving them is fairly quick, and regardless, all systems have some latency even if its 2.5ms, when you are adding tracks to recorded material (overdubs etc), you'll still need to accommodate that unless there is something i'm not doing correctly ?

most pitch shifting plugins aren't great in low latency mode. i generally track without any plugins and try to use direct monitoring to avoid any latency effects in monitoring. and if someone needs a bit of reverb, i'll use the mixer built-in reverb... ? then just adjust the recorded tracks by whatever the latency setting shows (e.g. if 5ms or 10ms, then shift things left 5-10ms) and done. i've found it just safer to get recordings without any possible glitching due to plugin overhead or even mysterious system occurrences ?

for jumping though. i simply pop open the marker list (normally at the bottom - this image for sharing idea only...)

now i'm feeling like i must be paranoid with 6 DAW applications... ? really though it's because some clients will only share their project file and related content and do not want to do old school export to WAV and let the mix guy do things... but for me, that's maybe 3 in 10. most will simply export their tracks (WAV or AIFF) and a sample mix or two, maybe some notes on "critical" effects they want.

yes, apologies, "audible bounce"

the SI-Piano or the free sforzando player will display the keys being pressed live or from the recorded MIDI content.

Discord is a virus.

which one? there are so many. several are evolutions of existing ones, and some are simply not workable for professionals so they don't gain traction... in general, to be meaningful, the parity of features across DAW would need to be strongly aligned, and features, missing plugins, etc would need to be handled gracefully, and then of course there are the audio / video / midi / api & content specs that must be supported... imagine a 50 track project with 20 (from 10 vendors) plugins, 10 VI from 5 vendors w/ program switching, audio, MIDI, and a short video, plus copious notes in tracks, plugins, and project level, with heavy dependency on "chord tracks" "arranger tracks" "automation envelopes". heck, most DAW struggle to manage that 100% internally, now imagine how that could be successfully shared across 4-5 DAW vendor products... basically you'd have to dumb down the lowest common denominator - audio and midi only, plugin metadata only, etc so no dependency on actual plugins and VI, and all in XML and/or JSON. to wit: MusicXML ?

my kids (adults now) use it on their PC and then call me to complain about how much disk time, memory and CPU are being used since it's also trying to act as a sharing service etc. so definitely not good on a PC unless that's all you do on a PC ?

"phase" is a somewhat overloaded term - in the DAW (and mix boards etc) the "phase" switch is really "polarity" (or 180° phase shift). mainly it was used as a quick check to determining is the polarity of the inbound signals where correct or if the polarity switch could [crudely] solve a problem. so no, you won't see the waveform shift, but you'll hear it (or not if it has no effect). in complex cases where a multiple input source (like a drum kick with lots of mics and related bleed) some adjustments in timing can improve the phase relationship, but also shift the bleed to where it can sound worse - so reduction of the bleed over is key if actual phase / timing corrections are needed or desired. (to fix this, close mic'ing became popular when using 2-3 mics to record a kit didn't deliver the desired results). i've been using InPhase from Waves to assist tweaking phase things as well as small track shifts (timing w/ 1ms increments) and RX to reduce bleed over. plus a lot more samples and drum replacement ?

and as a note: do not install discord on your PC, it takes over your system and is very hard to get rid of without a wipe and re-install of the OS and your apps... the discord web version is fine, and is designed for a younger crowd anyways... ?

the only reason i use the loop and punch is doing multiple takes - like vocals - where i have the loop set to give me a measure or two, then the punch for the part, then loop to repeat and add more takes on it. i'm certainly all for an auto-roll though, but being a dinosaur (or a fossile thereof) i use markers and loops to perform the process ?

many ways there are... ---- yoda

unfortunately, install updates on CbB always resets a bunch of stuff. one of the reasons i create about a dozen custom workspaces and backups for INI files etc. ? the custom workspaces don't get overridden, and i can tweak as i update my templates as well to better create views and settings for the task at hand. need to edit buss automation? i use the bussview workspace which hides most of the tracks and shows all busses on the "busses trackview" etc. very fast to switch around and reuse. easy to create and save and update as you need to.

Does the Windows operating system recognize the device in Device Manager? If the keyboard is not of type "class", you will need to install drivers for it. google translate: le système d'exploitation Windows reconnaît-il l'appareil dans le gestionnaire de périphériques ? si le clavier n'est pas de type "classe", vous devrez installer des pilotes pour celui-ci.

unfortunately he only has the bundled file - not a project file w/ separate audio. mettelus has a good answer - simply rename as wav and use an audio editor and/or DAW to split the concatenated sections from WAV file.

not that i have found. all the takes are physically in one WAV file and the takes are "logical / time pointer" divisions within it. what i did discover not long ago - if i have a single track and i divide it up on phrases, say 10 bars and 20 splits. if i copy that into another project (obviously grabbing all the sections ? ) then i have "guides" to work with and then the splitting a track with multiple takes is fairly easy to align. one could do the same by adding markers and copy & pasting them, but by accident i found this to be more relevant to the task at hand since the phrase divisions were already aligned w/o have to add extra markers. the downside is you now have more audio clips in the target project (so more space consumption) and if the new phrasing is outside the splits you made, then its not helpful as you need to make them anyways. net-net: i just go in and do the main splits on the track with the multiple takes and work from there. if i need to make additional splits then i'm right there and just do it. but if i had, say, several tracks coming in from different people and needed a single reference, the aforementioned technique would work (at least for me),

basically it looks like the help file suggests setting up a section to loop on, then set the area to punch in/out within that loop. seems straightforward enough. Cakewalk - Cakewalk Documentation - Punch recording http://legacy.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Recording.25.html

might be cool to have a MIDI baton and allow someone to conduct the virtual orchestra - feed in the scores and then let the conductor movements providing the timing and directions... https://www.musanim.com/Tapper/

one option to preserve things: once you have your audio and MIDI the way you want them - export tracks as WAV and also save the project as a MIDI type 1 file. if you want the effects to be printed (at a track level) export with the FX (etc) turned on. and maybe do some instrumental only and full mix stereo exports. with all the WAV tracks (raw and/or FX) and the MIDI tracks, you could essentially re-create the mix in almost any DAW + have your guiding mix available. make copious notes on the FX used and their settings as well. screenshots if needed into a Word or Google Docs document (along with your project notes: performances, mics, HW settings, room, performers, etc etc ? )

thanks! i just did some mix adjustments - vocals up 1db overall w/ Natalie up 3db on duet, and Kevin up 2db on the backing vox. i also found that i didn't like the "clipping" setting Ozone was doing on the master, and also the 1176 compressor on the vox parallel compressor buss -- it seemed harsher than i expected. so i swapped out the 1176 with the PIE compressor (which i think did the most to clear it up since its a transparent compressor) and turned off the clipping on the MIX output and only a slight amount on the MASTERING template. there are a couple of transients on the drum vibe ping-pong i need to go back and tweak but i like this version better now... thanks for the feedback!

yes. i've had it running in W10 and now W11 with no issues. oh, and you're going to like the v5 features much more than v4 ?

i have Melodyne editor as well but version 5 which is exclusively 64-bit. do you see the Melodyne listed in the Audio FX explorer? if so, can you drag it into your track FX and use the "transfer" button?

oh, to answer the question - yes i have made those cables as i didn't have a proper patch bay years ago, and they work fine. also - many inserts on mixers have a 2-step (at least older ones did) where you could insert partially to get the signal without breaking the path (e.g. Tapco etc) so you only needed a mono cable, so if its feeling like it's not seated with the TRS, make sure it's fully inserted into the jack.

Back in 2014-2015 timeframe i was a regular at the open mic held each Tuesday at the Backstage Hotel in Amsterdam. This was expected to be (mainly) original songs, and i was generally writing a new original each week to introduce there. So i set myself the task of creating a "pop" number... Our host (Max) spent the better part at the end of the night, whistling the tune ? so i figured i should record it... this is it's latest incarnation leveraging Kevin and Natalie in a duet. ? let me know your thoughts. instruments: -- drums (6 tracks) -- upright bass (1 track) -- grand piano (1 track) (rhythm & solo) -- acoustic guitar (1 track) -- electric piano (1 track) (tremolo chord intros) -- lead vocals (2 tracks) -- backing vocals (2 tracks) D Major, 112BPM