DeeringAmps

SampleTank 3, IIRC, never worked reliably with the VST3 dll, use the VST2 dll. I don't have any IK VST's in my VST 3 folder, everything IK; AmpliTube4, TRackS, are the VST2 dll's. I never upgraded to ST4. Tom forgive me if someone already has pointed this out...

So first off lets remember that 64 bit Double Precision in Driver Settings is how the data is processed. Render Depth 64 bit in Audio Data is the size of the resulting file, twice as big as the 32 bit file. We render 24 bit recordings at 32 bits to avoid "rounding" errors: at least this is my understanding. And since everything below 16 bits we can't hear anyway, to my ear (pun intended?), 32 is plenty. Lets not get into the "discussion" (you all know what I mean), we've beat this horse enough. Drive space is "cheap" these days, if you want to record at 96k and render at 64, fill them drives up! For me, 48k 24bit in, render at 32 bit, export at 44.1k 16. To answer your question, in 25 words or less (actually 6), file size is the only difference. Tom

More "classic" Kirby here. A Gray Colored Sky certainly has a coherent vibe and sound. If I had to put a "label" on it, I'd say mid to late sixties Ray Davies and the Kinks, but as I've mentioned, more than once, you definitely have "defined" yourself, and such comparisons really don't do you justice. More good stuff from Doug, and I recommend everyone take a listen! Tom

Bats, another great tune from Wild Animals. (I'm a fan, I own the album) I'm not sure its being "ignored" so much as you had two alternative mixes up back in August, and with 59 views, the community thinks they've heard and reviewed the tune. Those who haven't heard the final cut, well they don't know what they're missing... My review from back in August: Interesting tune, I think the vocals are fine, as are the guitars; you didn’t ask but the kick and bass seem to be working well together on the Bose cans. The synths are not at all in my wheelhouse, so I can’t help there, other than it lends an interesting texture to the song. “Two sisters, one with child”, I like your story line. Tom

Cool! I like the intro. There's alot more there than just the piano. Nice "click" to the beater on the kick, but not sure it and the snare are in the same space. This is something I struggle with, getting the kick "defined", but keeping the whole kit glued together. Some dandy guitar work, always a big plus for me. Are you straining just a bit on the high notes? Again, something I struggle with constantly, getting the key exactly right. Down a half step maybe, perhaps just the phrases that need it? In the day, slow the tape. Anderton has some tips for that. Overall, as I said above, Cool! Tom

Maybe a touch, and to my ears the verb is a bit "dark". But, be advised, my ears are a bit "battered" and perhaps I mix a bit too bright! I think you've created some very "convincing" performances. As to tempo, are you at 107 throughout? Perhaps some tempo changes would "breathe" more. Now how to decide when, where, how much; you're on your own son! That's something I struggle with all the time... And I should add, that I didn't find the piece "tight" at all. Big "thumbs up" from me. T Oh, and the title should read Bach, not Back; roight?

More "classic" Jesse, that's for sure! I don't know Jesse, I'm terrible with genres, I think odd meters play a role; or not. Like Frank said: "Hang your art here, there are plenty of critics who will tell you if its any good". probably not a verbatim quote, but you get the picture... Avant Garde on my brother! T

kloon's right, a bit more vocal, or pull the guitar down on the verse; its a bit "hot" in the left can. Or maybe center it and mid-side to clear the center for the vocal? Maybe an acoustic on the right side for balance? Nice balance in the chorus (and we all want to pump up the chorus), not so much in the verse. Might be fine on the speakers. Your song, your production. that or take this all with a grain of salt... Tom Someone's got to fix the BandLab app, listeners should not have to sign-up, log-in, etc. If I'm a casual listener or an industry guy that you've convinced to take a listen; I'm gone!! Like the 'burst in your avatar!

Great stuff as always Bat! Seems you're trippin' on the Iridium my brother...

I think the few times I've done this I saved the source as a .mid file (gotta strip most everything out of it), then opened that and created the "new" cwp. Obviously this won't work file to file, but I too would like to know how. Maybe its a copy "special"? Steve Cook will chime in and "enlighten" us; hopefully! @scook That'll get his attention ? Tom

How did I miss this on the first go round? Love the big cinematic sound stage. I agree on the guitar work, I'd bring it up a bit myself. The kick reminds me of how news shows would have the teletype in the bumper in and out. If your goal was "electronic" drums you've hit the mark and I retract my comment. I could easily see/hear this in a cirque de soleil performance. Tom

I think you "hit the mark" on subject matter here Freddy. I find the "center" a bit congested though. Is that a flute patch under the vocal? Maybe duplicate that, better yet change it up just enough so it sounds as if it was played twice. Hard pan left and right, do that eq trick where you "cut and boost" on one side then "boost and cut" the same freqs on the other. I'd hard pan the bg vocals as well, lot of "traffic" in the middle here on my cans... You are a storyteller, no doubt about it! Tom

Pushing these 12’s around is hard work! You must have listened pretty carefully. I comped those last two arpeggios, other than the fade in and out, and a bit of automation, I didn’t wrestle with the track a bunch. If I just put up the solo someone would dial 911 thinking I was gasping for breath. ? T

Many thanks to each of you, I've "tagged" each of your posts with a "thanks" (that is proper forum etiquette these days: right?). I will only quote Tom above "without a crapton of fret and fingernoise". That's not my fault, other than string choice; I am NOT a finesse player! As you can hear the "Flat Tops" do a good job of reducing string noise, however they don't last long, and are about double the cost. The "G" went south yesterday, "buzzing" the whole length of the fret board, at first I thought I had a little "back bow" and it was "fret buzz". But a quick trip to a local shop and all was well. (can you believe I didn't have a set of 12-53's in the house?) I really did only minimal automation on the solo track and just a bit of CA-2A on the busses for some "glue". I was really after trying to put that solo guitar in a "bigger" space, I think it doesn't sound like a "bedroom" recording. Again my sincerest thanks to one and all, I'll keep you up to date on my "quest". Tom just a note, there's a thread upstairs "how do I make my acoustic sound professional"; there's a link to this video How to Record and Mix Acoustic Guitar Some good stuff there...

Well done, there's some fine guitar playing there! Tom liked that ZP Bridge as well...

That's a wrap!! T

The guitar work is fine, you played to the song; that, after all, is our job. As too length, its not like you "endlessly noodled" on the guitar for 6 trips through a 12 bar; it took 6 minutes to tell your story. Dress up the drum track a bit and print it! Tom

I would drop a couple measures into the search function in EZD2 or SD3. Not being "flippant" here, I never bonded with AD2. Pull everything out of the cwp: except the drum midi. Export an mp3 2-track mix, leave a marker at the "start" point for the imported audio. I'm no "great shakes" on the acoustic, check the tune I have up, so I won't promise anything; but I'll have a run at it. I'll throw the midi at EZD2 and see what we get... email the cwp and mp3. add @aol.com to my screen name. Tom

Neumann TLM-102 comes to mind, $699 street; might be able to score one at 10 to 15% off if you play Sweetwater off Musiciansfriend a bit. Or check Reverb.com... Tom

Thank you both for the listen and your kind words. Maybe a case of "more me" by the mix engineer? Mark, this is a stereo recording, but I did have to "balance" the two signals, maybe still a bit stronger on the right. I just threw that "Massive" preset on verb buss, I have lots (too many) of verbs... Tom

Sense of Space This is an exercise in finding the "sweet spot" for recording acoustic guitars in my studio. Like most here I'm working in a small space. I'm fortunate to have a dedicated Studio, but the "vocal booth" is about the size of a small bedroom. And with the walls full of 703, its tight! What I'm trying to do is get a real sense of space in the recording. This a simple composition, 3 guitars, bass, a little percussion. I've been "close" micing my acoustics, with additional gobos behind the mic (the secondary guitars were done this way). But, I much prefer ribbon mics, in a Blumlein Pair, and have moved out into the center of the room and ditched the gobos. This is how I have done it in the past when space permits. All comments, kind or not (I'm thick skinned!) will be much appreciated. Tom

That percussive "snap", its a wood block or maybe claves, yeah probably claves? To my ears its just a little too loud (just a tad; probably doesn't translate well into French, non?) Pull that fader down, but that's just "to my ears". The signal chain you have on the Master is probably just fine. At some point in every project I throw Ozone on the Master Buss and "master" in place so to speak. And notice the small "m" in the word "master"; I'm not a Mastering Engineer, most here are not! I'm also not a "first call" mix engineer who is sending mixes out to be professionally Mastered. Consequently I "small m" master my tracks "in place". I don't print a mix and then pull that 2-track into a new session to "Master" it. But to each his own! Your song, your production, its done when you feel its done. Tom

Hey Martin, Gave a good listen to both versions, I like them both. There was a time when low end was controlled by the stylus. Too much low end and the needle hopped out of the groove! I'm more interested in defining the kick (usually some top end boost to get the beater talking) and keeping the mud out of the kick and bass. But at my age, do I need my teeth rattling? So take my advise there with a grain of salt. I like the "snap", and I was wrong about the 2 & 4, its kind of on every other 4and; right? Still looking for those lyrics. My wife listens to the tune, the melody matters, the lyrics not so much. I've always listened to the story, number 1 because if I covered it, I had to sing it. Number 2, as a songwriter I'm always interested in how the story is told. Solo is your Les Paul, neck pickup, maybe the tone rolled off some? If I'm mixing this, I'd go with the edit+bass, pull that snap down just a tad (keep it subtle), master it up and declare victory! Tom

I just tried it and found I had to drag the clips one at a time to the destination track. As Martin said, hold the shift key to keep everything in time. Then I would "bounce to clip" so its all one clip. Tom

I bring my A-500 controller in via USB. I have a Roland HP-20 that comes in via the midi port 2 on the UFX. I still have a couple of outboard synth's, that rarely get used on midi port 1. As far as response time, when using soft-synth's, that's all down to the ASIO latency of the project. MIDI data on both USB and DIN are, as Robert said, instantaneous. HTH, Tom