Glenn Stanton

thanks! the lead in the early parts is deliberately muted in the HF and volume as it's supposed to be backing the vocal (to be recorded). agreed, the rhythm is a bit high - i'll probably add some additional instrumentation to blend it all better, right now it's only 5 tracks total...

one thing i noticed - the surround panner is missing in the diagram on the surround section box... probably needs an update... @Noel Borthwick ? http://www.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Mixing.07.html

versioning like this: or perhaps more granular using "mix scenes"? or some combination of the two?

depending on the material, you could use the "process effects" to shorten the length of selected notes (say you have 20 notes) and reduce by 50% (etc) to eliminate an overlap (esp for percussion, bass, and triggered effects) where the shorten length is not obvious for impacting the sounds.

i have the UMC1820 - it's very nice and the drivers support pretty low (6ms roundtrip) latency although for mixing you would want that way higher. preamps are good, and has decent headphone levels. it can extend to an ADA8200 8ch using the ADAT optical, and i'm using a optical to RCA (cheap on Amazon) to output the optical SPDIF clock to my internal 1010LT and 66 cards. i can't run all 20ch or so using native drivers, but can using ASIO4ALL. i do wish they had the 8 XLR on the front though... currently i breakout the back panel XLR out using some low-Z over ethernet boxes i made, but it would make patching easier if they were on the front. definitely recommend the UMC1820 for low cost and generally good performance.

also - the Audio-Technica ATH-M40x ($99)(replaces the 40fs) or ATH-M50x ($150)(i own and use) - both closed back and both definitely do a good job of representing the mix. I have the M40fs which go for anywhere between $70-120 used, and those are my main headphones.

some blues about the struggle to let go... In A Little While © Glenn Stanton [verse] Am7 - D9 - Am9 - E9 - D9 - Am7 - Am7 [break] D - D - D - E9 - D9 - Am7 in a little while, that's all that's left c'mon baby, cling me to your breast tell me you love me even if it's untrue 'cause in a little while, that's all for you 'cause when i go, it won't be like last time i tell you now, i've made up my mind in a little while in a little while, that's all there be oh baby, don't you do this to me you're heartbreak waiting to happen to me in a little while, you're gonna see 'cause when i go, i won't be coming back gonna leave you standing here, right by the tracks in a little while <break> she rock me in the morning she rock me in day she rock me in night got me wrapped so tight, i swear it's turning blue but come the morning time, i got something for you in a little while in a little while, when there's no more to say oh baby, it's of no use to beg me to stay 'cause in a little while, there ain't much more time 'cause when i go, and i ain't gonna lie for all those years baby, it's your turn to cry in a little while in a little while in a little while

check in your waves central as to what the ID is that was the container - sometimes it's your network device which was in use when you registered, other times its the disk drive identity. if either changes you get the disconnect. i went with an inexpensive USB stick but that was not reliable, so i spent the $30 on a good one and it's been solid for the past 6 months or so. definitely will stay with the USB approach.

or something like that... ?

Buffer Bad Mojo © Glenn Stanton G-G#-Am(C-D-C) E9-D9-D9 Did I know it? I did not know But now you're sad And I say what? Cause what you see Is what you get The best of me The best thing yet Oh, she's got those Special Qualities Buffer bad mojo Buffer bad mojo Buffer bad mojo Buffer bad mojo Did you mean it? When you said it I heard you say-ay-ay-ay it Oh, the best things In life Are free Buffer bad mojo Buffer bad mojo Buffer bad mojo Buffer bad mojo Buffer Bad Mojo

getting a lot of artifacts - maybe somewhat due to compression but it seems more like edges of audio were clipped without cross-fades or simply silenced on non-zero passing. also, no much high freq so it's highly compress mid-range which impacts clarity of bit as well. could be mp3 format killing some highs. here's the waveform via RX-7

if you're dependent on external MIDI, invest in a good quality unit, the cheap ones ($5-$30) mostly use a chip (or two) which don't support most of the MIDI spec, or support it incorrectly. i've tried about 10 inexpensive models which were all rated decently and all failed to support all the protocols. i bought a secondhand MIDISport 2x2 on EBay for $50 and viola! problems went away. there are several small pro-grade MIDI boxes out there now. $150 or so. MOTU devices while pricing are also very nice.

yeah, watching the Waves series of pro mixers - there seems to be many times where they have 5-10 duplicated tracks that they "comp" for applying different effects likes echoes, stutters, hard tuning, etc. i was surprised to see even simple songs that have 4-5 instruments and 2-3 vocals having 50-60+ tracks. long gone are days like "Tapestry" with 9-10 tracks per song...

it's usually a balance of the thresholds, but with anything automatic, you're letting a computer make the decisions - I recommend you make a copy of the audio clip(s) so you can tweak them later... you could use the take lanes for the copy and then do any "comping" and make adjustments where the remove silence was too aggressive. another option is to use Melodyne to strip out noise artifacts or Izotope RX-7/8 to "fix it", and/or gate/compress it (or even all of the above).

a lot of folks like the 1176 for the distortion effect on bass, and tweaking the threshold will let you adjust the transient slope to some degree. i prefer a CA-2 type and RBass ?

if you have the Melodyne studio version it might be easier to identify the drums but there are limited to what is can do by itself. once thought - use RX-7 (or RX-8) to rebalance to drums (mostly) then use Melodyne to extract the notes (although you'll probably notice the Melodyne's percussion algorithm has limits because of non-pitched material, still worth a try). another option is import the file into Band In A Box and see if it can extract an equiv drum performance...

also - handy for renaming: https://tools.stefankueng.com/StExBar.html you can also use a regex in a simple ui to do the replacements...

as a note - i exclude the cakewalk executable as a running processing and also the WAV files in my project directories. this seems to eliminate the AV constantly trying to "test" the files and still provide most of the AV functionality for all other processes and files...

i've been using my Strat to play bass over the past couple of months since i left my basses at home ? i play the bass lines, either fingers or picks, then convert to MIDI using Melodyne. i clean up a bit or move things if needed, then render. i then copy the MIDI notes to a separate track and use the SI-Bass VSTi to play it. most times not even transposing. any version of Melodyne should work - like the Essentials version etc. you can quantize the MIDI notes if necessary.

make sure (like your audio sound control panel settings) that ALL enhancements, effects, spatializing, bass boosting, media level normalization, cross fades, etc etc are all turned off in the playback app you're using. use some pink noise files to calibrate the playback throughout your system - through CwB, your media players, etc etc, run some pink noise videos via you tube to make sure your browser settings are ok as well - beware that youtube is at most stereo so checking surround settings via youtube is not happening :-)) once you have ALL your in-house systems all having the same levels and approx the same frequency response, you can then make a reasonable assumption that once you hear the material on other systems or environments, that that is the influencing factor(s), and now you can work on translation issues effectively. definitely recommend using REW and a sound level meter to set everything up. definitely recommend fixing any egregious room response in case you're finding that the room is completely hammering your ability to hear things evenly. in small places and low volume levels you can probably get away with some minimal corner treatments to level the low end a bit. also - move your subwoofer to get the best response. one trick - put the sub in your chair you monitor from, and run a 20-120hz sine sweep and move around on the floor (hands and knees) until you find a spot that has an even overall response, and put the sub there. not perfect but most times close enough and much better than simply placing it arbitrarily. worst case and no space - place it into a corner with about 12" (400mm) all around it, and adjust the volume to even it's level. this is 4pi space and will increase the level by 6db but at least it will be consistent. for example, i set my highest volume setting (turning my speaker controller all the way up) to 85db across each pair of speakers and/or subs. so my main monitors (SP-5B) are stereo w/ minimal pro sub (Sony 500w) volume, my Bose 901's use full pro sub volume, my mono speaker (Avantone active Cube) w/o sub, pc speakers (JBL) w/ pc sub, and surround system (JBL 510/505) w/ full pro sub etc. i use 20-20K pink noise @ -12db. all subs at 80hz x-over (using a CX-2310 crossover) (and some tricky wire/patch routing) this way i get reasonably flat response from each system. and then i generally mix at middle volume (about 75db) and then switch to 1/3 (about 60db) and full (85db) and across at least 3 pairs of speakers and pro headphones (mf-50x) (which stay at @ 75db).

or open your settings and go to systems -> sounds. on the right-hand side is "sound control panel"

the cymbals are typically routed via the overhead (OH) and room, and perhaps buss (although i tend to mute that most times). so if your OH or room channels are muted, low volume, or redirected from master or not assigned as separate audio channels in your console/track, that's the likely cause.

you need to go through the sound settings and under the properties -> advanced, check to make sure that both playback and record settings are the same. i.e. all are set to stereo (2 channel) 44.1K 16bit, or 24bit, or stereo (2 channel) 48K, 24bit etc.

yeah, i do this for most apps - esp if they have more than 100-200mb of samples. it keeps the OS drive free (and smaller), and keeps the active projects drive clear of the sample requests (from the third drive where content is stored). backing up the content is then simple. as @bitflipper pointed out, the apps are none the wiser. as a note - best to keep a record of the junctions in a (backed up text file) so if you do crash, it's easier to recovery (scripting becomes an option :-))

backing up files (daily and often) to separate disks (and/or clouds) is your friend. sorry for your loss.