Glenn Stanton

1 hour ago, whoisp said:

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 

whale farts. look it up. prove me wrong ?

10 hours ago, Luc Henrion said:

... So, when I drag them on the track they positioned themselves at the right place. Creating silence between them as on the original DAW. Very nice, except that gaps between each file are just what I want to avoid ! Maybe there is a way to delete all gaps between clips but I didn't find a command to achieve this...

so which is it? the BW files are going where they're supposed and mimic the positions in the original DAW?

__OR__

they're not going to the right place and there are unintended gaps between them somehow?

and for me, it was always 48K which was what i used for a number of years until i discovered many sample libraries used 44.1 and sucked at 48K settings..

from our friends at Wikipedia:

Protocol specifications
S/PDIF is used to transmit digital signals in a number of formats, the most common being the 48 kHz sample rate format (used in Digital Audio Tape) and the 44.1 kHz format, used in CD audio. In order to support both sample rates, as well as others that might be needed, the format has no defined bit rate. Instead, the data is sent using biphase mark code, which has either one or two transitions for every bit, allowing the original word clock to be extracted from the signal itself.

S/PDIF protocol differs from AES3 only in the channel status bits; see AES3 § Protocol for the high-level view. Both protocols group 192 samples into an audio block, and transmit one channel status bit per sample, providing one 192-bit channel status word per channel per audio block. For S/PDIF, the 192-bit status word is identical between the two channels and is divided into 12 words of 16 bits each, with the first 16 bits being a control code.

some thoughts

- if you close the project first, wait until the start screen re-appears, then select File -> Exit -- any difference?

- what is your audio driver? it's possible that CW is not able to close the audio "connection" or reset it and the exiting simply leave the process running even if the UI is closed.

46 minutes ago, Max Arwood said:

Someone said there are no 32bit converters. Me I got to google everything lol.  Check out Mytek - True 32 bit integer. It guess this is future proofing your  recording, and emptying your pocket book simultaneously.  Wow 384kHz /32 bit integer. Now some math guy - how many bytes per minute does this thing use ? and how many empty 0’s are in my files per minute?

next $10M hit = $50K microphone -> 384/32-bit IO (captures even the nose hair resonances), double 64-bit processing with 32-bit storage, output as 384/32 and finally posted on Spotify as 44.1/16 320K MP3 and listened on a shared pair of AirPods (each person gets a left or right channel...) on a subway whilst texting with five other people on a party chat, then switching after 30 seconds to some other song... ? 

17 minutes ago, jack c. said:

make the drums less busy.jack c

thanks!  i have a plan: make the drums less busy, tweak some of the vocals, redo the guitar solo - i thought i'd like an "angry" finish but no, going back to the cooler one, and redo some of the vox compression as it's too harsh the way i did it (i didn't follow my normal use a template process as i got too engrossed and thought i'd do it later... i may still just export the tracks and open my mix template and just get those things done - better reverbs, etc).

on the drum busyness -- i had thought about cutting it back but i sort of like it during the solos as it adds some acceleration without a tempo change. but in hindsights it's a bit over the top for this version...

another a relic revisited - a modern blues number about where lies the blame when loving ends.

of course feel free to comment.

-------------------------------------------------------

94BPM
D Major

i can't believe what i hear you saying
i don't know what's a lie or what's true
you thought you had me fooled with those baby blues
who's fooling who

i felt like you wouldn't have it any other way
you didn't care if i cried or if i'd lose
you thought you had me fooled with those baby blues
who's fooling who

what's the name of the game?
is it always the same?
you lose
'cause if it is, then i'll just win
i take as much as i give
who's fooling who

[solo]

i felt like you wouldn't have it any other way
you didn't care if i cried or if i'd lose
you thought you had me fooled with those baby blues
who's fooling who

[solo]

i can't believe what i hear you saying
i don't know what's a lie or what's true
you thought you had me fooled with those baby blues

well now, i'll tell you

who's fooling who

all it means is if you have a 24-bit IO and record at 32-bit - your lower LSByte is all zeros. when you add processing in 32-bit effects, then those bits may likely become populated. so it's just s wasted space if you only use 24-bit IO and plug-ins. and of course trying to playback 32-bit on 24-bit IO (or apps) means you're truncating the LSByte which may produce noise...

How do I report a problem with a Cakewalk product? - Frequently Asked Questions - Cakewalk Discuss | The Official Cakewalk by BandLab Forum

Better problem reporting: How to capture a crash dump - Frequently Asked Questions - Cakewalk Discuss | The Official Cakewalk by BandLab Forum

maybe it needs some cowbell and/or congas in the [disco] bridge ?

during one of my Amsterdam trips, i was playing some guitar in my hotel room with the TV on silent. and of course one of Europe's most beloved series "Baywatch" came on, and it was an episode where the main character was holding a drowning victim and feeling despair / anger but no back story. so i created one... sort of.

comments welcome.

106BPM

E Major

-----------------------------------------------------------------

barefoot on a rocky shore
along an ocean of scars
tears wash the soles of our feet
beneath the light of a million stars
it's these experiences that we share
that bind us in love

caught in the undertow
it won't let me go
finding it hard to breathe
but that's alright by me

'cause she's like a beacon high
shining down on me
and me like a lonely sailor
drydocked lost at sea
and this irresistible drive
keeping you and me alive 
feeling love love love

caught in the undertow
it won't let me go
finding it hard to breathe
but that's alright by me

'cause she's like an angel high
watching over me
and me like a broken sinner
bent down on my knees
and this irresistible drive
keeping you and me alive 
feeling love love love

[solo]

ahm--------
yeah we're floating
oh yeah we're floating

{kiss} your lips scorches me
like a thousand degrees
yeah we're burning 
oh yeah we're burning

{hearts} our hearts beat as one
in a slow dance embrace
yeah we're yearning
oh yeah we're yearning

{call} you call out my name
with one final breath
you say ahhhhh

caught in the undertow
it won't let me go
finding it hard to breathe
but that's alright by me

'cause she's like the shining crown
reigning over me
and me like the healing faithful
bowing on the streets
and this irresistible drive
keeping you and me alive 
feeling love love love

caught in the undertow
it won't let me go
finding it hard to breathe
but that's alright by me

barefoot on a rocky shore
along an ocean of scars
tears wash the soles of our feet
beneath the light of a million stars
it's these experiences that we share
that bind us in love

you can use an external drive for OS (the boot settings will allow it), but it's not really interchangeable with another machine because of physical component differences that Windows will detect and require activation on. 

however, the external drive (assuming USB) will be slower than an internal drive and cause more interrupts (like interfering with the audio IO on the USB). one thing i do for my laptops - i swap the DVD drive socket with my OS (the DVD drive is the slower speed connection in most cases) and put my content / project disk into the primary slot (faster, sometimes 2x faster). (also -- all SSD drive).

then i have a couple of "low usage" external drives for my cloud content (i only sync to the cloud drives not operate with them directly to avoid USB interrupts and file contention) and archive, downloads, etc type content.

"as far as i know" AFAIK

it's not capacity - it's lifespan. the memory used in USB keys degrade over time and also poor connector quality can cause headaches with the Waves licenses (not exactly sure why). so spend the $40 on a high quality brand instead of a generic $5 or $10. i replaced my cheaper Sandisk one with a high end Sandisk model 2 years ago now and 0% issues.

thanks Max! i seldom use envelopes for dropouts - if i do need it, i usually just split the tracks i need to drop and carve the opening, esp since i seldom drop all tracks - and most times the arrangement is addressing most of the dynamics in the performance anyways.

i wan't sure if the quick group could affect multiple volume (etc) envelopes or not. i'll have to try that out as a new song i'm working on needs a 1 beat drop across all 31 tracks and i'm reluctant to adjust the performances...

depending on how tightly these need to happen, one track at a time with automation write enabled to drag down the fader and bring it up. one other option is do a split on the clips start and end, then edit the volume envelope - the cursor sets to the size of the selected clip, then just drag that down. repeat per track. not great but reasonably fast.

one thought - the send levels look like you have them set very low. usually what you want is to hit the effects harder and then use the buss level to balance the overall level into the mix.

another tip - have the delay buss do a send to the reverb buss to add some reverberation to the delayed content.

one challenge is when sample libraries (or some synths) only have 44.1 sample rates and the implicit conversion to 48 has (in my experience) caused more problems than not (which is why 2 years ago a reverted to 44.1 after using 48 for a couple of years and dealing with stoopid sample libraries and synths (of which i have too many to re-purchase or convert).  but now, once i have everything all settled at 44.1 - windows, synths, samples, etc i seldom run into issues. when i do need to run 48 or 96, it's because i have inbound client files or i'm deliberating recording at 96. in which case, i simply reset to 48/96 on the os, and set IO to 48/96 and i'm good. if i need to add something from a synth or sampler - i use Kontakt as that seems to have the least number of issues with 44.1 -> 48/96 implicit conversions.

you can copy and paste envelopes.

it sounds like one of the analytical plugin type functions to give you stats on the project. i use Expose on rendered files but plugins like YouLean, Insight, etc you can get LUF type info. as far as L-R + phase (stereo/mono compatability) balance, EQ balance per genre, etc you can use some products / plugins like Izotope RX, Ozone, Acoustica, SoundForge etc. to measure those things. 

so if you start a blank project and set this up, it still doesn't work?

try something like this to check everything is working as expected, then adjust levels:

3 hours ago, bats brew said:

i bought my waves plugins.

i own them.

no lease at all.

i'll use them for a thousand years.

same here. i only have the Slate subscription because there are some plugins and synths i use a lot. otherwise i'm avoiding subscriptions and trying to wean off the Slate.

2 hours ago, rsinger said:

I have a DAW and laptop and CbB and Live 11 and most plugins installed on both. Most plugins allow 2 installs, they just can't be run simultaneously. I only have a few wave plugins (since I need to buy 2 copies).

if you use a high quality usb key (don't skimp on this) to host your Waves licenses, you can readily switch between machines, just not be able to run both at the same time. my second secret trick is to have a bunch of free plugins (or paid ones without restriction) which i can substitute - i have the Cakewalk ones from Sonar 7 onwards, and a bunch of free ones which provide a lot of capabilities (and this how i have several friends setup their systems). so, probably 80/20 - 80% of the time i'm using Waves, Slate, etc and other single machine at a time plugins, and 20% of the time using freebies or builtin.

presumably you are trying:

track -> master buss (or equiv)

track -> send to reverb buss or aux track -> reverb 100% wet / 0% dry -> output to master buss

?

a few things to check:

1) is the reverb getting a signal from the track?

2) is the reverb output set to the same output as the tracks?

3) is the mix (wet/dry) settings on the reverb set to 100% wet and 0% dry? (otherwise you're just getting more dry signal)

4) is the reverb powered on / enabled / not controlled by an envelope which could be turning off the sends or the buss itself?

i keep the licenses on my ilok and waves thumb drives, then use the installers to install the plugins (as expected) but use freefile sync to keep the plugin folders, settings / presets, and content sync'd to the cloud and then sync from cloud to devices (laptop and desktop machines). whichever machine is the "current one" where i may have installed updates or new presets, overwrites the cloud set and then the switchover is simply move the USB keys and hit the sync, and after a few minutes (most times) it's all done. application updates occur via the vendor plugin managers as normal.

the nice thing about the keys and cloud - if i'm doing something with my friends setup, i can quickly load the plugins, load the presets and content, and activate and get to work. although most times i'll just bring my laptop and drives. ?