Glenn Stanton

updated - new vocal performances, and some recommended changes. BPM 75 Key G Major -------------------------------------------------- did she tell you it was a rainy day she found another to love her and left to go her way it's so sad, i never knew let me tell you my friend it could happen to you i was lost and alone not knowing what to do i cried out isn't there another heart that's true? i called, you answered you touched my heart and soul so i learned this lesson i want you all to know in the adverse times of your life if you find someone who makes you happy you ask them to stay and everything will be okay two people loving each other two people falling in love woke up with the sun one morning, and i rolled over in bed and there you were darling, then you touched my head you told me once, or you told me twice that loving you is all i need not something i could lie about 'cause sure the feeling is nice and everything has turned out right two people loving each other two people falling in love two people loving each other two people falling in love falling in love

set track one as the track source, voice set to side chain, and create a send on track 2 to the OVox. and from there play with various settings ?

thanks! yes it's an original - i wrote it when i was in Amsterdam in 2015 as part of my efforts to keep up with the other singer/songwriters ? at a weekly open mic @ the backstage hotel, which set the requirement for only original songs. i was watching "old yeller'" or something and thought about needing a soundtrack at the end of the movie - i tend to do a lot - writing while watching tv with the sound off... lol. yes, definitely some tweaks will be needed on the next mix...

ok, full update. new singers and music track. BPM 98 Meter 4/4 Key E Major -------------------------------------------------- i can't stop missing you i can't stop missing you i can't stop missing you and i'm not sure what it is i'm gonna do you were here then the lights went down and your smile turned upside down now you know i'm feeling sad and blue i can't stop missing you i can't stop missing you i can't stop missing you and i don't what it is i'm gonna do you were here and your smile was bright living all through your life now you know it hurts me, you know its true i can't stop missing you i can't stop missing you i can't stop missing you and i'm not sure, i even want to try keep on, keep on missing you every day for the rest of my life keep on, keep on missing you every day for the rest of my life keep on, keep on loving you every day for the rest of my life keep on, keep on missing you every day for the rest of my life i can't stop missing you i can't stop missing you i can't stop missing you and i'm sure i'm never gonna try

creating? == notepad++ -> create & save master text file -> copy & paste into notes. ? update? == notepad++ -> edit & save master text file -> copy & paste into notes. ? templating? -- check spellcheck? -- check precision content edits? -- check no loss if crash during notes edit? -- check highly reusable outside of CW? -- check cons: alt-tab to switch between CW and notepad++... lol

hmmmm. my exe is dated 2018 whereas the download site is 2016 maybe @scook posted an updated version?

SONAR & Cakewalk by BandLab (CbB) Resources and Utilities -- removed link as it was to the older one --- see scook's link

i have a MASTER - which i run the C4 MB compressor to set of general overall mix level and via pre-fader sends to a PRINT buss (which is the no hardware output buss i use to export a stereo file), and MST-12 buss (which is set to -12 on its fader) to quickly switch between normal volume and low volume without changing faders. for surround i replace those with surround busses and some of the submix and reverb busses also (this is a separate template based on my generic mix template).

you can also see the 32 or 64 bit in the FX browser. and i also use the VST Inventory program to periodically collect the plugins registered with CW

yes, you can watch it happening if you are in track mode and when you select, un-select, mute / un-mute. i think though the states revert when you finish the export or close it i'll have to try that ?

i've found ASIO4ALL useful - however - i cleaned up all my other "ASIO" drivers and generally cleaned out any extraneous audio drivers. so now i have my Intel non-ASIO drivers, IMC ASIO, and ASIO4ALL. mostly use the WASAPI shared or exclusive modes. some VI require an "even boundary on 8" sample setting, and the WASAPI modes often fall on odd numbers (e.g. 441 vs 384 or 512). this is where the ASIO4ALL is handy - i can set it on an even boundary (it defaults to those), get my VI work completed, render to audio, then go back to my regular drivers. and then, unless i'm really in love with the VI, i'll relegate it to "do not use unless necessary", and a few VI were so annoying with the sample settings, i uninstalled them. edit: forgot i have the Tascam DX ASIO driver as well for when i use my DX for recording. that one works really well and has never given me a problem (then again, the UMC ASIO driver is pretty solid as well)

all 70+ tracks have clips playing at the same time?

also - more curiosity - is the reason for manipulating so many tracks gain due to a) too hot a record level? b) too low a record level? c) using a VI but not using the VI volume control? for me, i tend to check inbound client files for volume levels, noise, etc are part of prep, or if they're my own sourced files / clips - making sure the peak levels are min -12db or more likely -18db. so i seldom have to touch gain controls unless i want the track to be a bit more hot going into the FX.

it took me a few times to finally get the main variations in the export dialog understood. then i discovered "tasks". so being lazy, i set up a few tasks which default to "mix" based on my "print" buss (a buss defined to take the master output). and a "tracks" tasks which outputs the tracks - full length all - to an "audio export\tracks" folder (which i create on my recording projects). saved into my record and mix templates. then, in a project, i "recall" the settings, tweak some of the selections and the time length, "update", and then run tasks. now i get my mix and my tracks exported together or one or the other. otoh - i think the UI is good for me as i'm often using complex export/import functionality for my drafting and rendering work, but if you're not used to a complex I/O UI + the idea that a) "entire mix" is somewhat ambiguous and maybe calling it/adding "hardware output"? b) the module and the dialog have some conflicting concepts (?) which need to be rationalised...

hopefully in your walk-in subzero refrigerator set at 5% humidity

any reason you chose to use plugins instead of the native gain control? curious.

@Victor Flores check your notification settings on the sub-forum - the "following" settings let you choose how you want to be notified (or not).

does the BlueCat gain plugin probably doesn't support the ctrl-move like the native gain control. also, if you have any automation enabled, this can cause the level to snap to what value was set using the automation. if you do have automation enabled, you can use the ctrl key on that track to make the change - ie.e say you're set at 0db, holding the ctrl key while dragging the volume down should let you change the value.

i've been using the export feature to dump all the tracks from a MIDI/VI only project then importing and placing on my audio mix template project. similar to how i would do it if a client sent me files. since my record template has the same naming and ordering as the mix template, and then the export conveniently names all my tracks. couple of things - set the output name as {trackname} (unless you need more complexity - like raw vs FX printed), set to follow source (stereo / mono), 24-bit (or more), and turn off the dithering. i can then grab all the files and drag them into my project and then drag them to their respective tracks (all to zero). if you need to have them position themselves on the timeline - export as broadcast WAV. and then use shift when moving to keep them aligned. but @57Gregy has it correct - if you're copying from one open project to another - make sure the location and track are selected before pasting. i generally will ensure my clips are trimmed to minimise the leads and tails so i have a clear space to paste into ? ---------------------------------------- as a note: since deciding to separate the "recording" process from the "mixing" process - i.e. get a good set of tracks recorded and all reasonably balanced - whether live or VI performances - really makes my mixing process much easier if i'm not tempted to touch the VI settings or just not having the overhead, so much smoother. and if i need to "re-record" a VI, easy enough to go to the recording project, tweak, re-export/import that track (or 2 || 3 etc.) using the same techniques for printed FX vs "DI" instrument tracks etc. and since i'm still using a very under powered laptop at the moment, the reduction in overhead from not having VI in the mix project means i have more headroom for the stuff that matters to the mix... anyhoos my 2¢

yeah, i was thinking it could get "too granular" if you factor in automation changes expressed in a csv ?, but in general -- per track / bus metadata + media + fx + general settings on them (if an option to extract) would likely answer most people's desire for project details sufficient to recreate the majority of it from scratch.

hmmmm. do you have a lot of software installations going on as well? i've found something my runtime get out of sync (even when they're supposed to be the same and backwards compatible) because of other products. so, once i done updates on my software (MS, audio and drafting products etc), i re-run the CbB runtimes and my Sketchup runtimes, then install the CbB and SU updates. generally they are then stable against interference from other products. sometimes renaming the cakewalk.ini to .old also helps in case an update needs new entries and somehow they didn't mesh correctly...

that would be amazingly handy.

^^^^ yeah, my laptop is not very powerful so when using effects or VI i like to limit them and just take "completed" audio over. makes the overall mix process lighter. so i'll setup my MIDI-only tracks in its own "record template", tweak, and then export the audio tracks. then import into my "mix template". essentially, following the same mix process is if a client sent me a bunch of tracks...

if you find your track levels are fairly consistent for the duration - you can set your fader to say -6db, then adjust gain to about -18db to -12db on your meter. this way most of your levels are in a good range for mixing. and you'll get some more consistency on plugins. this works decently for live situations as well - get your monitoring set, then (on small gigs) bring up FOH to blend, or large gigs to whatever levels you've contracted for... ? and you have plenty of room to adjust individual performances and keep the monitoring stable...

one thing i've been doing lately - create a 2-track export of the main project - only what i need for the vocal performance, then create a project with that export on one track and then do all of the vocals and edits. then when i've got the vocals mostly comped etc i can then export those tracks and import into the main project. this keeps things fairly clean and then i can go back to editing the main project without overloading it with lots of additional vocal / take lanes tracks and edit-effects. reduces the overall size versus copying the entire main file (e.g. my main file might have 2.5GB of track audio, whereas the export might only be 50mb)