Glenn Stanton

hmmm. worked for me - once i set it to extreme and put snap to grid to 1/4, 1/2, 1/8T etc all snaps were, er, extreme in aligning to the grid... what version are you running?

if you set the snap to under the customize menu all the way to "extreme" does that solve it? anything less seems to allow variable placement/stretching...

pretty sure most US radio stations used extensive amounts of compression, exaggerated EQ'ing, and limiting to maximize their impact on home listeners. this was to overcome some of the limitations on the RIAA curves, and perhaps a few scaled it back for "audiophiles" (e.g. QXR NY classical music radio) but with the cost of the broadcast licensing, commercial competition, and lease rights on tall buildings, massive power consumption bills, etc radio stations definitely wanted to be the boldest, loudest, crankin'ist station. there are exceptions - some of the early FM stereo stations went as far as no commercials for several years with breaks only to announce their ID as required by the FCC. on topic - some definitions and history of mastering: https://www.izotope.com/en/learn/what-is-mastering.html https://www.sonarworks.com/blog/learn/the-history-of-mastering/ some differences for vinyl vs. streaming: https://www.sageaudio.com/blog/mastering/what-is-mastering-for-vinyl.php https://www.sageaudio.com/blog/mastering/mastering-for-streaming-platform-loudness-and-normalization-explained.php

oh man! now you've done it! broken the "real men don't read manuals" law-of-the-universe... ?

ah, ok, that would be handy to have the expand/contraction of the track folder reflected in the console view. for me though - when i'm in mix mode, i cannot see the tracks because they're hidden behind the console ? so in my workflow using the track manager helps me to minimize the console width...

would something like Track Manager (shortcut H) be useful for this? assuming the track view is synced with the console view.

this should settle it: https://en.wikipedia.org/wiki/C_(musical_note)#Designation_by_octave ?

it may be fixed now. i was writing a support request and went to get a screenshot and it accepted the serial number. once that was done, installing the library via Native Access was quick and it's now in my instruments. sounds great!

need to active it to download it (generates serial number) and then perhaps this link will unravel the installation mystery https://www.soniccouture.com/en/support/install-current/

mastering is just as much an art form as it is technical. hopefully someone working as a mastering engineer will come along and provide some technical insights as well as the thinking behind it...

agreed. perfection can be the enemy of good (or great). of course none of this statement applies to Aja. ?

a) commercial release (top 10 hit, major motion picture sound track, album, etc) - hire a professional and take their input on incremental mix adjustments or stems usage. ask some professionals to critique it. ignore negativity. b) personal stuff - mix it well and test on several speaker/headphone/earbud sets, then export into Ozone 9 Advanced and run through several speaker/headphone/earbud sets to test. ask some folks to critique it. ignore negativity. ?

this is where a side=chained compressor on the other instruments could help by "ducking" some of the parts while the vocal is happening. might only need a couple of db to make it cut, sometimes using things like RBass/MaxxBass (or other LF harmonic generators) can help to cut low end on instruments by creating some additional higher frequency parts of the signal so you can reduce the instrument level slightly... which may/or not/ interfere with the vocal but it's something to try...

ok - so ignore previous suggestions. so the plugin is communicating outside of the audio IO path once it's configured to SEND. i'd think that the RECIEVE function would (if you needed it) be on a separate track or buss. one consideration: 0) MASTER is set to output to the Scarlett IO 1) install plugin on a new stereo buss which routes the SEND on Restream and also outputs the buss to MASTER. (so you can hear what you're sending to Reastream without colliding with the MASTER IO) 2) install plugin on another new stereo buss which has the RECEIVE (if needed) and also outputs to MASTER (so you can hear what is being sent to you on your audio system) 3) route output of your tracks to the REASTREAM SEND buss this approach should then let you independently manage your in-room/headphone volume separately from the Reastream send volume, and also mix in any receive levels.

it's a computer. everything is binary. one way or another. ?

definitely some nice specs: https://www.amd.com/en/products/cpu/amd-ryzen-9-5900x#product-specs makes me want to upgrade my whole PC...

i think he's referring to the clipboard history which is a collection of 25 or less last copied/cut items. note that there is a per-clip limit of 4mb and also, not all apps can use the clipboard history nor are all objects in an app storeable there...

which i also set to 24-bit ?

true - a 16-bit input being recorded at 24-bit will simply be padded, however once recorded, any "destructive" changes to the audio clip would benefit from the 24-bit setting as those LSB are populated from processing effects etc.

some thoughts to consider: "Clipboard history first appeared in Windows 10’s October 2018 Update (Version 1809). Currently, Clipboard history supports text, HTML, and images less than 4 MB in size. Larger items won’t be stored in the history. Clipboard history stores a maximum of 25 entries, with the oldest items disappearing as new ones appear. Also, unless an item is pinned to the Clipboard, the Clipboard history list will reset every time you restart your computer or device." https://thetechhacker.com/2020/11/04/how-to-view-clipboard-history-windows-10/

it might be helpful to post some links to short samples of audio where you hear the difference. it's possible that the same material through each is being processed differently - for example - dithering enabled? auto-level boosting? rounding in the processing? CbB using 64-bit internal then rounding down to 32-bit for file. floating point in and of itself is a "lossy" format (esp if you use it to calculate money ? )

presuming your sending the output of your master channel (either a buss or your hardware interface)? it may be you need to route that output via your audio mix controller - this could be a mixer or audio interface then into the Reastream app. should check that you have exclusive control set off in your IO in the event Reastream and Cakewalk are vying for the same outputs/inputs. software-wise, it might require something like https://vb-audio.com/Cable/index.htm or https://vb-audio.com/Voicemeeter/index.htm note: i have not used these products but some folks here have mentioned them before.

i use busses for the sub mixes, but those feed into 3 busses (think of them as "stems"): low, vocal, instrument. the low only has kick and bass, instrument has everything else (drums, parallel drums, guitars, keys, etc) high passed like @marled noted. and the vocal buss contains the lead and backing vocals. separate busses for reverbs and delays - room, vibe, vocals, instruments. this is then all passed to the master buss which has a -2db threshold on the ProChannel limiter (or what you might have), auto-release (most times) and a slight -1db cut @ 250hz on the PC EQ. this provides a very light limit/gain on the master with the limit cutoff @ -1db. note: this approach leaves about 20 faders to manage the mix and general ambient/vibe effects even if there are 40-50 tracks behind it. so with the stem-like approach, moving the vocals +- 1-2db is easy, same for low and instruments, with the option to add side-chain compression to instruments so the vocals can turn down the instruments 1 or 2db, and same for ambience effects - those busses can be side-chained to bring the vocals a bit forward as well. this seems to provide a reasonable level of final balance (again think "stems") using the 3 main busses and a decent output to the mastering stage (me - Ozone 9 advanced separately on the WAV output).

excellent intro to vocals recording! i like how you pretty much nailed the verse in one take ? i was struggling a little with my own breath control during that. ? one note for newbies you might want to include - save your project file once you get things set up like the import of the beat and the vocal tracks, this way all the audio etc is put into a project folder and of course you can use that trusty crtl+s to keep your work safe. cheers!

you should never mix on Bose ? that said, i have a pair (or two) of 901's which are brutal for testing a mix - if they're right on the 901's, they're generally right every where. mixing on them? never. testing for translation? definitely. no idea about T1 but suspect the same as @John Vere