Glenn Stanton

i use the WinDirStat app periodically to find folders that are "heavy" - Waves, and a number of products including Slate, any number of virtual instruments etc often install some large libraries and supporting files into the ProgramFiles and Documents folders as well as Program Files folders. i think at this point i have about 30 links to move this stuff off my C:/ drive on onto my contents drive.

my apologies - i mixed up some responses you made in another thread with @msmcleod

agreed - bouncing down was something done to handle track limits. and there are pros and cons to it - one pro - you're forced to make mix decisions early ? cons - if your early mix decisions are wrong you need to re-assemble all the tracks, copy overs, etc to get back... lot's of "imperfections" from the old days, but then again, great song writing conquers all... for me - my default template uses tracks -> sub-mix busses -> stem busses -> master mix busses. so i can pick which level of granularity i want to change things, and exporting parts, stems, or mixes are reasonably obtainable within my normal workflow. i can solo "stem" sections to see vocals vs low end vs instruments etc and make changes on the sub-mix or tracks as needed. and adding additional stem busses if needed. some projects i do for other folks they may want 6-8 stems for the mastering process - vox up/down, solos up/down, etc type of things.

sorry - i though t to add it to your suggestion, and in case you didn't know about it.

@scook there is also a feature called "Flatten Comp" which creates a new take lane composed of all the other (comped) takes and then solos it (in take lane, not track). the take shows an "unlock" icon which indicates the "clip data" is locked - it's not (apparently) a destructive operation as the takes are in one WAV file and the new one is in another WAV file.

that would be a handy feature - i'd caveat by saying it might be nice to have something like this as a "bounce to clip" function where i could select a number of tracks and do a fast bounce to a new clip/new track with the source track effects etc being applied. something much faster than a "record" activity.

correct, you cannot create a link if a conflicting name exists - so copy the original folder first, "x out" the old dir, then do the mklink. this way the old directory is still there as a backup, as well as the copy you made (the new target). if it all checks out, then delete the x'd out folder. Copy C:\Users\MyName\OldDir -> D:\Settings\Product\OldDir C:\Users\MyName\OldDir -> C:\Users\MyName\OldDir.X mklink /J "C:\Users\MyName\OldDir" "D:\Settings\Product\OldDir"

one thing to note: if you can hear them, they can hear you ? so all your impact noises, music, speaking, chair dragging, etc. the proper solution will require several things: you need to add additional mass and preferably some damping to the floor above - and depending on the actual framing etc structure there will be limits due to weight as well as door openings etc. as a general rule, the quieter you make certain sections the more other sections will appear louder - so best to plan on extensive coverage rather than spot coverage. one option is mass loaded vinyl under concrete board, covered with underlayment and carpet - you'll be raising the floor about 30mm and this not going to be as effective compared to changing the ceiling below to prevent sound coming up. the upper stairs floor mass, if doing the suspended ceiling, can be added between the joists along with insulation to fill the cavities. and you need to put in a suspended (or otherwise decoupled) ceiling downstairs. this is best accomplished with spring isolators, hat channel, and 2x drywall layers.

you should use the junction /J setting as this creates a hard link to the directory Creates a symbolic link. MKLINK [[/D] | [/H] | [/J]] Link Target /D Creates a directory symbolic link. Default is a file symbolic link. /H Creates a hard link instead of a symbolic link. /J Creates a Directory Junction. Link Specifies the new symbolic link name. Target Specifies the path (relative or absolute) that the new link refers to.

what happens if you bounce to clip first? it seems likely that a clip not bounced (effectively locked) could be prone to errors if there is some offsets in the audio being stretched.

or remap it via mklink command - this way you can put all your presets onto another drive / location and the app thinks its the original

i just downloaded today - lot's of warnings from Microsoft - ultimately it's the MS "reputation check" settings interfering with downloads. the AV scans showed nothing untoward, so i installed and played around with it. seems good here.

i could just put the MIDI on the instrument track. but i found that i can reuse the same midi track on other instruments to see how it works without having to move it around. and once i go into mixing mode, i just hide all muted tracks so it gets simpler pretty quickly. and i'm in the "buss" side of the equation so it's about 12 channels of instruments (if using all) and 4-5 ambience busses, and 3-4 stem busses. the latter i don't really change until i think the mix is overall balanced, then the stems are the final check and adjust - vocals up/down (in my case mostly down ? ) lows up/down, etc. lastly a noise injection test maybe some slight tweaks on the sub-mix busses, a quick "mastering simulation check" by engaging a -6db limiter threshold and a tilt EQ - see if things are still ok at the increased volume - levels, harshness, etc. the template with all 15 soft-synths, and another ~50 effects (mainly the PC EQ, a few reverbs and compressors) across 48 tracks, and 20 or busses, i think a new project from the template takes maybe 25-30 seconds to load up. most of the soft-synth and effects are turned off and/or muted so loading is fairly low esp during recording (i'll set the ASIO down to 5ms - about 240 samples) and then during mix up to 2048 samples to reduce load when engaging/adding the effects.

we may need some additional eyes on this one: @msmcleod @scook - any thoughts on this one?

there is a "slope" in the response, so no setting is generally a perfect "cut" or "boost" at a given frequency (hence "cross over") and determining where on the slope to transition from one driver to another has plagued acoustic transducer design since time immemorial ? (well, since at least 2000BC)...

maybe check the stereo panning rule - i'm not sure if that is used when bouncing from a stereo or dual mono clip, or multiple mono clips into a single mono clip, but it might make sense if it was.

each track has a default PC (High Pass EQ only) and each sub-mix buss (one or more instrument tracks per each) as same PC (High Pass EQ only). then depending on what i want to do, of course i'm not limited to what effects i can put on the tracks or busses, and if i need more busses or tracks i can add them. add more effects like delays, reverb etc for 3D, and so on. it's just a starting point to the journey ? i don't use dedicated instrument busses (unless we mean them to be the same as the "sub-mix" busses) since having a buss per individual instrument seems redundant. of course if your sub-mixes (similar to perhaps the "mains busses" in a HW console) need more, simply add more - if you do a lot of orchestral work, you might break it out as separate string, horn, and percussion section busses. the sub-mix controls the general levels per instrument group. The monitoring buss has the option to enable Waves Nx (in my templates) which is the virtual room for headphones. it goes directly to the HW IO. the master buss is where i tap off for the export since it has little or no effects, EQ, etc on it and i can choose to listen to the mix down via the virtual room while exporting. if you're not using a virtual room, or do not want to simulate the mastering levels, then you can remove it and simply route the master to the HW IO. the ambience busses are just (again) gross levels for a stem group - more reverb on the vocals or drums, more room across everything, less vibe during quiet parts, etc. also possible to automate. obviously these don't address instrument specific effects and those generally go on the instrument tracks and sometimes the sub-mix busses (i like to add Vocal Doubler on the BVOX sub-mix). for soft-synths - i print those to audio before mixing once i'm happy with the general sounds. i use midi tracks so i can disconnect them from the audio tracks later in the process, or re-use them for other instruments if i change my mind later. once i have printed things and disconnected and muted the soft-synths, i'll hide the muted stuff to get it out of the way. the noise uses a simple noise generating plugin (or you could import a clip) to check levels. i usually set it so it's about the level of the snare or a bit less so i can check that there is instrumentation and vocals above that (unless it's a snare exercise video ? ) i seldom print the "stem" busses for my own work. and again you could add more or use less "stems" as desired. in my case, i use them to simply make broad adjustments like bring up the vocals 1db, or bring down the solo by 2db, add 1db more bass and kick (low) etc. and they can be automated if needed ? if i'm doing work for someone who specs they want stems, then i'll use those busses as the export source to the stem files.

same results here. even switching to use separate tracks. maybe the only way to edit outside of the comping tools is to use the full WAV file.

never heard of the 10Hz rule... in general, a LF spec of (for example) 50Hz on a speaker may be the -6db roll-off point or a -12db roll-off point where the manufacturer felt comfortable making the claim about 50Hz... so in general, see if they have a publish frequency response chart you can validate it and also keep in mind that speakers are generally tested in an "infinite baffle" type of configuration to reduce or eliminate baffle step and refraction impacts on the response. if they're honest they'll also publish a polar distribution chart or two to show how it acts in a free space. and some even go so far as to show how the speaker reacts in wall and corner scenarios. (reference: https://www.trueaudio.com/st_spcs1.htm)

yeah, the UNICA font can be tricky that way ? i do remember the groove 3 stuff from long ago... in this case, i focused mainly on the flow from recording -> mix -> export and less on specific effects or track processing since that is really material dependent. the addition of the dedicate "noise output" and a virtual room (monitoring) (or turning it off for speaker monitoring) are a couple of interesting ideas i've picked up - using noise to partially mask the overall mix to see what jumps out or isn't audible, and having a dedicated monitoring output so i can export from the master buss without changing it (like forgetting i have a virtual room enabled or the noise going...) in my use case, for example, i use a bunch of Slate and Waves plugins, as well are various instrument synths like the Kontakt-based Session Guitarist where i want to augment (or even replace) my own performance since it changes up the feel which can make things sound different than perhaps i was expecting.

a general purpose mixing and recording template - includes the use of the Pro Channel EQ and in some tracks & busses, compressors. Ambience busses include the Sonitus reverb, and/or Sonitus delay. I deliberately left out the soft synths because there are many many choices, and in my own templates, i use licensed products which may not be generally available. besides, would you ever learn something if it was simply handed to you? ? in essence: tracks flow into sub-mix busses grouped by type of instrument tracks, sub-mixes feed into "stem" busses for overall gross-level setting, and those feed into the master buss. sub-mixes may have send to the "ambience" busses for drums, vocals, instruments, solos. stems may have send into a "room" buss for overall gluing. q&a yes - there are many opportunities to change, improve, or even wreck this template ? hopefully it's a just start for folks. no - there is no support for this other than kind sharing between people and positive commentary. attached are some diagrams which provide insight into how the flow and console is set up. 000_mix_record_template.cwt

it may but i'd start with a more clinical approach to get the balance then tweak if needed - based on your experience with a given piece and how it should sound - i find usually this is done with some final monitor positioning and perhaps some very small monitoring EQ movements.

i have the SP-5B and a Sony sub (120W) and i set the crossover to 90hz and because it has a frequency bandwidth setting as well i allow up to 150hz ( a slight bump in EQ) to compensate for a room mode. but the main crossover point on my x-over unit is 90 and the setting on the sub is 90. that seems to produce a fairly even response. even with the Avantone Cube, 5.1 JBL satellites, and my Bose 901 as well. best bet - make sure the sub is well-placed and run a series of noise and frequency sweep tests to iron out the best crossover for your room and system. i would say it took be probably 2-3 hours of testing and tweaking to get it just right for me.

hmmm, in the open project plugins browser, sometimes i see both the 32-bit and 64-bit versions get installed and i usually find the 64-bit ones listed in the appropriate category (not all the times) and the 32-bit versions listed in "uncategorized".

maybe have a "MASTER" buss to be used for the export , and output that (or a pre-fader send from MASTER) into a "MONITOR" buss which has the Sonarworks or Slate (in my case Waves NX) on it. then export the MASTER buss to the file. output pre-fader send export MASTER