Glenn Stanton

according to UAD, WDM and ASIO drivers are different - so it would be important to select the correct one - it sounds like you select the ASIO driver in CW but use the WDM version for Windows. maybe set the ASIO on for both? Using Windows WDM System Audio with UAD Hardware – Universal Audio Support Home (uaudio.com) https://help.uaudio.com/hc/en-us/articles/360051064291-Using-Windows-WDM-System-Audio-with-UAD-Hardware as far as UAD and MMCSS -- probably a good question for their tech support.

updated - additional lyrics and new singers including backup ? 70 BPM ~ G Major / E Minor ? ------------------------------------------------------- breathe in the air reach for the stars heal everyone and dream with your heart then the road to valhalla lies clear there's nothing left to fear oh oh i'll let bacchus decide how we spend tonight Quetzalcoatl will call the tune as we dance in love around the moon Hera says that all is fine cause i am yours and you are mine Gaia dances for all to see don't mess with her ecology cause i did hear a wiseman say please don't let it slip away clean waters still matter clean waters still matter help those in need reach for the stars feed everyone and dream with your heart then the road to valhalla lies clear there's nothing left to fear oh oh i'll let bacchus decide how we spend tonight Quetzalcoatl will call the tune as we dance in love around the moon Hera says that all is fine cause i am yours and you are mine Gaia dances for all to see don't mess with her ecology cause i did hear a wiseman say please don't let it slip away peace and love still matters peace and love still matters breathe in the air

when i do use this technique - i use one of my -12db pink noise files imported into an audio track, output to master buss, loop it (make sure it has proper beat count), and set it to -13db - which turns out to be -14db overall. then adjust each track - initial set to 0, and each buss set to -inf. one at a time raise until you just hear it, then mute it and the next, repeat until all done, then unmute them and make some final tweaks before turning off the noise. most times i find the mix to be pretty close and now ready for some tweak via automation. one thing - after using noise, take a walk for some beverage or bio break before re-listening as the noise means you should "re-calibrate" your ears...

maybe document the steps you use to recreate the issue - intermittent issues are tough to solve ? and then see if it's something the support folks could recreate on their end and thus be able to fix it.

Mixing To A Pink Noise Reference (soundonsound.com) https://www.soundonsound.com/techniques/mixing-pink-noise-reference

maybe describe the problem so people who don't want to download the video can understand what you believe the issue is? maybe it's something with take lanes?

i use a PRINT stereo buss which is fed from the MASTER via a pre-fader send (level=0) and its output is set to None. then in the export i select the PRINT buss instead of MASTER. I can set the PRINT level independent of the MASTER. The level for PRINT could be via the send or the volume on PRINT. Note that MASTER has a light 2-buss compressor w/ 2-3db swing on the meter for some light glue.

unfortunately i don't think here is a generally automated way to get reliable results. one thing i use is the Melodyne level balance macro to increase quiet sounds and reduce louder sounds: https://helpcenter.celemony.com/M5/doc/melodyneStudio5/en/M5tour_MacroLeveling?env=standAlone i believe it's available in all versions except the essentials.

yes, so either prep them using a tool to adjust gain to a consistent level, then import. or in the DAW, use clip gain to adjust the entire clip or just parts of it. or if destructive gain setting is ok, then use the process->apply effects->gain and set it up or down.

bottom selection of the amplitude tool. on my own materials, i'll simple select all, then use this tool to drop all sibilance 2db or so (starting point is around -10% then up or down slightly). just enough to start the process without being obvious. on the help page they have some ideas on split tracks to adjust the "balance" of the sibilance -- https://helpcenter.celemony.com/M5/doc/melodyneStudio5/en/M5tour_ToolAmplitude_Fade_Sibilance?env=standAlone

definitely - there are really three levels measured in the LUFS/LU - the "integrated" (you need to be at or below the spec at the end of the total sound recording). "short term" (which has a time window 3000ms), and "momentary" (very short measurement window) ? then you have the loudness range (usually in LU) which gives you some idea of the dynamic range. one thing i've observed in mastering forums and online tutorials, blogs etc is that many mastering engineers (i am not one, nor do i play one anywhere) will do a bunch of their magic to get the integrated value to be where it needs to be (mainly critical for broadcast because in some countries there can be monetary penalties) and to accommodate the behaviors of streaming services automatic leveling "feature", and then leverage higher short term and momentary levels to get the overall level to be perceived as "loud" without violating the integrated requirement. definitely different than simply looking at peaks and RMS. the Izotope Insights meter is very nice, the TC metering is also very nice, and the free YouLEAN meter is decent. some free ones i've played with vary in their accuracy.

select clip(s), select "process -> apply effects -> normalize" (or gain depending) and set the parameters and hit ok. each clip selected will have the normalization performed. depending on your goal, clip gain can be very useful for leveling and overall changing level as well

4. allow use of arpeggiator effects (arp, strum, etc) on select chords ?

i like to use RX on client vocals to clean up as part of prep and do some light de-essing. on my own, i will use RX and then clip gain and edits, then use Melodyne to reduce some of the sibilance, and then one or two de-essers in serial to get sss and cha and tsk which may be different sets of frequencies. each stage is generally small and may be on the VOX buss if i have some doubling, or as Tim noted, on the BVOX buss for background vocals. otherwise, it's mainly the primary vocal track.

i'm not seeing this behavior in my setup. maybe set the "ExceptionHandlingSeverity" = 7 in the initialization section of the Preferences and capture a crash dump.

perhaps this may be helpful -- if you have several monitoring devices setup (e.g. your main speakers, headphones, a BT speaker, etc) it is a good idea to set them so they have the same output levels - in my setup (currently my laptop on my work desk) i have a USB mixer (headphones), a USB Spark Mini, and a BT speaker. first I run a -12db RMS filtered (pink) noise signal from CW (with the outputs on the track, buss, and h/w all at 0 - so my peak level is ~-12db on the meters) and set all my device output levels to 83db -- this may require each Windows sound setting for a given speaker to be adjusted -- my mixer is set to 16, my BT speaker is set to 80, my Spark is set to 66 and each position on their volume dials are marked (permanent marker or nail polish drop). note: if you are using a subwoofer it's a bit more complex because you want to adjust the cross-over(s), delays, and so on to blend with the speakers - phase and transition from the speaker to the sub. then i set the output devices to output 75db (my typical mix level) and mark their dials (or for the BT one i know i press down volume 3x). if i want to go lower i can just move the volume control or pass it through my -12db master channel in CW template. then go through each audio playback software - Media Player, Dopamine, WinAMP, Groove, VLC, etc and set their volume to match 83db when playing the noise file. lastly, adjust my online media hosting players to also play at the 83db level. now i can just adjust the output devices to either 83db or 75db easily and know each player or source has been "calibrated". a decent sound level meter is useful (a long time ago i bought an old Radio Shack digital one for $30 on ebay) and place it approx where you have your head. for my normal full setup i put it on a stand but at my work desk i just hold it there. it's close enough. the whole process only takes about 20-30 minutes, but you'll be much less frustrated when switching across listening devices and players. one update: your decision on source level vs monitoring level can vary based on the system you're using K, LUFS, etc so create (or obtain) the source level file you need (e.g. -18db, -23db, and noise type) and set your full-scale monitoring as defined in the system. in my regular setup, i have a monitor controller as well as a number of presets for the sound levels documented so if i'm doing video / theater / surround vs audio stream, i can switch to proper monitoring. here's a handy reference to some of the different specs - https://www.tcelectronic.com/loudness.html ?

depending on the failure - i've found many times that the power supply and/or power regulator in those types of units are the problem. so, for like 6-7 failed drives (several brands) devices now, i remove the disk drive itself and use a USB adapter unit (which also supplies power for older drives), then copy all of into my cloud storage (2 different services for redundancy). label the disk and put it into a static-free bag. it's something similar to this: https://smile.amazon.com/Converter-External-Universal-Function-Software/dp/B00EHDTRJ6/ which i purchased about 4 years ago. only one drive was not recoverable using this method as the disk drive controller was shot, so i sent to a data recovery place which was able to directly access the drive (it was a small HDD and i didn't have any other like it or i would have swapped the controller board...) that was $150 for the service and they returned the content on a new disk drive (200Mb).

yeah this would be nice so instead of having a temp track with a bunch of sends to busses and etc to be able to insert a set of busses. what would be really really (really) nice would be the track colors (in a track template) could be preserved with the buss assigned color... what i do now is take a cwp with only the busses and rename it as cwx but that is a pain to do if i want it sync'd with my mix template.

an aux track can be used as a buss since you're using a patch point to route there. for example, if i had several vocal tracks i wanted to put into a few compressors or reverbs and wanted those to be in proximity to the tracks - aux tracks would be handy so you don't have to move around too much to tweak things, or if you want to set up some variations by grouping them via an aux track as a "vca" type control, etc. i have a couple of templates i set up like this based on some tutorials based on ProTools but i don't use them. but as Lord Tim pointed out, depends on what you need - per instrument, per group, or global effects. one thing to note: with stems you can never truly recreate the global effects in individual stems because they don't have the cross-mix of others. so usually i assign my "per stem" effects to those groupings, and then tie in a set of global effects for my mix down, but when sharing, i'll just document the global effects so they can be recreated by whomever is taking the stems and produce a "global effects stem" which may or not be useful. it's also handy to produce "dry" stems as well and document those effects in case they will recreate on their end. one other note: use the export function. the ability to setup a bunch of tasks to produce stereo, multitrack, buss, buss as stems, dry (no fx), etc and variations on mixes (no vox, no solo, no drum, etc) and re-run if needed saves a ton of time.

i truly forgot about linked clips. what's nice is you can unlink from the source and create a new linked group easily.

true - it does depend on what you need -- for the rare cases - i just use the chordz vst. most times though i'm composing in MuseScore or Hookpad. then import the MIDI into the DAW for the actual instrumentation.

then again, if i need to filter etc i just copy the MIDI over to the track that needs it ?

imho - templates are mainly about speed and efficiency - to get to the point where all the baseline work is done: file prep and load -- including naming and so on general leveling to get a sense of the material (especially if there is no reference mix) "typically" things such as routing to sub-mixes for easier overall mix actions: drums, bass, guitars, vocals, keys, orchestral, etc maybe some FX like reverbs and delays to get started this is the stuff that you generally need to get out of the way so you can focus on the actual creative aspects. any number of the big names likely have their interns/assistants to take care of the prep stage, but i'm sure it depends on the project (single song versus an album for example).

agreed -- the composing template for me just gets me into the process faster as it has my tools and basic tracks ready to go. so, between that and some other tools like MuseScore 4, Band-In-A-Box and Hookpad, i can rapidly get ideas down. and each tools forces a rethink if i'm trying out parts or whole songs in different styles. and when i really want to start fresh -- i have my "blank" template (which using the start screen means i don't have to save anything or create a folder -- different than "file->new") for something i might throw away. whereas the record template comes into play when i've got the song far enough to put into audio ? so if i'm doing something with guitar, keys, drums and bass, then the template is just really fast to get those "done" and then i can focus on interesting things like synth, vocals, and solos -- or change up the arrangement even if i did the full arrangement as i thought i might like it... but agreed, too much focus on the template early on could lead to same old same old...

it would be nice to adjust the # of samples under WASAPI Shared...