bitflipper

Standalone, invoked via CW's Utilities menu. So it's likely already running as Administrator given that it's invoked from CW which is. I've never interacted with iZotope in the 14 years I've been a customer, guess I'll see if there's a FAQ or a forum or something. Did I say "rash"? I meant "trash". You know, that weird distortion plugin from iZotope.

Say Ed, since I've got you on the line, let me ask you a question. Every time I start up RX, I get a messagebox saying Any idea what it's trying to tell me? Everything actually works fine. The folder in question is C:\Users\davet\AppData\Roaming\iZotope\RX 8 Audio Editor Session Data (the default), and I've confirmed that the folder exists and that I can write to it. While I'm at it, I also have this weird rash...

OK, I realize now that I've asked the wrong crowd for advice. Not complaining. I always thought the RX7 was a pretty nice-looking car, if a bit cramped and noisy. And though mechanics invariably greeted it with "wtf is that?". And if you collided with anything denser than a VW bug you would almost certainly die. In all probability the de-clicker in version 8 is the same exact software. At least, they did not claim it to be improved. Truth is, that tool isn't bad at all. It just didn't work as well as Audition's, which eliminated 99% of clicks. RX 8, however, eliminated 33%. There were probably some tweaks I could have done to make it work better, but I defaulted to what I already know, which is how to de-click by hand using a spectral editor. The de-hummer, OTOH, has been improved. So if you get a hummer you can (probably) be successfully de-hummed.

Actually, Paulo, I did consider that option. Unfortunately, I do not live alone. Unless my daughter and grandkids first unanimously agree that pants are optional, I shall remain prudently panted. As it is, they already suspect that grandpa is demented. Even though there is some evidence to support their suspicions, I am not prepared to confirm it just yet.

After dropping nearly 100 lbs I bagged up all my fat pants and gave 'em to Goodwill. A chapter closed, I thought. Then quarantine happened. I've had to buy new pants. Haven't tossed the now-too-small ones, though. One has to at least pretend to retain a little optimism in these trying times.

I bought myself an early birthday present and picked up RX 8 Standard a couple days ago. Yes, I should have waited until Black Friday, but I had an immediate need for it and forked over the $328 with tax. For surgical editing I have relied on Adobe Audition for 15 years, and have been consistently impressed with how good it is. But it's 32-bit code and crashed when attempting to load a particularly large file in the spectral editor. I have no interest in later versions of Audition, since you can only rent it nowadays. So RX 8 was my only option. First impression was that RX is nowhere near as easy to use as Audition. Just navigating the main window was frustrating, with something as basic as looping on a section being unnecessarily hard. The de-clicker wasn't as precise as Audition's, leaving several pops that had to be manually treated. Spectral editing took a lot more time than with Audition, but I'm sure it'll get quicker as my familiarity improves. I like that it supports fx chains, even if I'll probably never use them. What really intrigued me was this feature called "Music Rebalance", which I thought might help me with my immediate situation, which is remastering an album without access to the original multitrack files. It lets you separate bass, drums, vocals and "everything else" into separate stems and rebalance them. Sounds pretty cool, huh? So I tried it out on an old tune, just bringing up the drums by 2 dB. I loaded it onto my pocket player and later that night A/B'd it against the original. My critical-listening environment: lying in bed in the dark, on my best headphones with a headphone amp and the highest-quality pharmaceutical cannabis. It's a setup in which even the smallest detail doesn't escape me. True to their word, the song now had louder drums. RX had even figured out that the tambourine should be included. But to my great disappointment, it also had an unpleasant midrange boost and overall loss of clarity. Not exactly Celemony-level transparency. To be fair, the source material was an MP3. It might do better on a higher-quality file. But for now it looks as though RX 8's coolest-looking feature may not actually be all that useful. Anyhow, I thought I'd solicit others' experiences with RX and maybe pick up a tip or two.

Well, technically titanium may not qualify as heavy metal. It's used because of its light weight. Not implying Kenny's a lightweight. Now, had Kenny's insurance forced him to go with the cheaper wrought-iron option, he'd need a Les Paul just as a counterbalance to keep from toppling over.

I used to mock people who watch dog 'n cat videos, too. Get a frickin' life, I'd say. Well, a few years ago I was stricken with excruciating back pain that lasted for 2 years before finally remedying it through surgery. It was a truly miserable period of my life. Sleep was elusive. I couldn't lie down, had to sleep in a chair. No matter how much you bundle up your feet still get cold when you're sleeping in a chair. A handful of Vicodins would grant me maybe 20 minutes of sleep at a time. I could feel sanity slowly slipping away from sleep deprivation. Then one day around 3:00 AM I ran across a bunch of puppy and kitten videos while attempting to distract my brain from the pain. It was oddly relaxing. It soon became part of my nightly ritual. I'd mute the TV and zone out to happier thoughts. Now that I can sleep and walk again there's no longer any need for that, but I credit puppies and kittens for keeping me from going crazy during that time.

Try bypassing all effects and see if the peak value now remains consistent. When levels dance around on their own, it's almost always a plugin that's the culprit. Assuming we're talking about audio tracks, which will always be consistent with no fx. But if we're talking about a soft synth, then it's likely due to some randomized modulation within the synth, in which case a limiter might be the easiest solution.

Yes, it's something that can happen. Fortunately, it's very rare. Whatever you do, don't delete the broken project. It's possible you've had some disk corruption, and leaving the bad cwp there assures that bad spot won't be re-used. That's assuming the corrupt file is in fact the project file, which it probably is. Start a new project and start importing those wave files. If any of them are corrupt, this will let you know which one(s) they are and thus which parts you may have to re-record. You will probably be able to import all of them. You'll still lose your automation and plugin settings and have to recreate any buses, but that's still less hassle than re-recording - and you won't have to tell your client about it. Heck, you might even end up with a better mix after starting over.

shh, Kenny. Why did we all agree to NDAs if you're gonna just go and blab the truth?

It's just marketing hype. In truth, Sasquatch Moss tastes pretty much like regular moss. Might as well save money and just buy generic.

I guess anybody can make a "documentary". Take video from the TV news, research a few facts from Wikipedia and make up the rest, upload it to YouTube and wait for the clickbait ad revenue to roll in.

Of course I believe in Sasquatch!

Admittedly, the calculation was done in my head without the aid of maps or a calculator. Feel free to check my math. I have a long driveway, about 600 feet. That's 1,200 feet round-trip, or a mile per 4.4 trips. A thousand trips would be a little over 200 miles. Oregon is 300 miles north-to-south and 400 miles east-to-west, so 200 seemed a reasonable guess.

Back in SONAR days, Cakewalk would license plugins from third parties to bundle with the DAW. These cost money - built into the price of SONAR - so they were modified so as to only run within SONAR. There were also some plugins developed in-house for exclusive use with SONAR. Again, there's a cost there to be recouped through sales. Either way, it wouldn't make business sense to subsidize other DAWs by letting people use these plugins in rival DAWs. Every DAW vendor does something similar. Today's Cakewalk is a free product, so the previous model won't fly anymore. Bottom line: just re-install SONAR. Except for sample-based synths such as Dimension Pro, SONAR has a small footprint and it won't conflict with Cakewalk. So there isn't really any reason not to have SONAR on disk. Which specific plugins are you after? After SONAR's collapse, some generous third-party vendors provided open versions of instruments previously locked to SONAR. Others have offered discounted crossgrades.

Especially when you couple them with a good mimic who can do the voice believably.

^^^ this is the best way to do it for any sample-based instrument, because neither the instrument nor the DAW know you've even done it. No settings to fiddle with, no broken projects, no overlooked steps to worry about. It just works. I would leave the instrument itself where it is and just move the samples.

You're on the right track. It's the MIDI Filter plugin you want for this job. Set the minimum velocity to, say, 40 (just guessing where your ghost notes fall). That's it. You can either filter them out nondestructively in real time or bounce the track with FX to get rid of them for good. I'd recommend the former just in case you realize later that you've removed some hits you wanted to keep.

Here our standard unit of measurement is Rhode Island. Connecticut if a bigger unit is needed. Texas if we're talking really big. California if it's economics rather than geography (if CA was a country, it would be the 5th largest economy in the world). But if you've never been to those places, or only seen them on a map, it's really not all that helpful. You can only appreciate geographic measurements if you've walked them. So I think of the Oregon fires as being as wide as 1,000 trips to my mailbox.

Sorry, I saw it in the beta 1 release notes just yesterday.

We probably shouldn't get everybody excited about a feature that hasn't been released yet. But yeah, that's a good one. Almost as good as the one listed after that one. Gonna make some people very happy.

It ain't much better here, a hundred miles north of you. It's like a foggy day, except the "fog" is brown and makes you gasp for air. We're supposed to stay indoors with the windows shut. That would be a reasonable plan during the 9 months of the year when it's cold and rainy here. But in September that can make it too hot to sleep at night. Choose between not being able to sleep because it's too hot, or because you can't breathe. Either way, it's not going to be a restful night. On the plus side, it smells like the whole world is having one giant barbecue. Except when the smell of melting plastic gets mixed in. That's pretty nasty, and you try not to think about the reason for that smell, as it's probably somebody's home and/or car on fire.

I can count on one hand the number of plugins that I use on every single project. This is one of them. Yes, you can do the same thing with Channel Tools, but not nearly as conveniently, especially if you want to automate panning on a stereo track.

"Phaser sound" is the clue. You get that whenever two tracks containing identical audio are played back that aren't in sync. Figure out how that's happening and you've solved your mystery. If Steve's buffer suggestion doesn't help (it's easy enough to try), the next area of investigation would be routing issues. The best tools for troubleshooting such things are the mute, solo and bypass buttons. Start by soloing the drum bus. Does the phasing go away? Mute the drum bus. Do all drum sounds go silent? Mute the master bus. Does the entire project go silent? Even though you have no fx on the drums, bypass all fx globally and see if the phasing effect is still there. If there are multiple tracks for the drums, solo each one in turn and see if one of them exhibits the effect but not the others, or if the effect is only there when particular combinations of tracks are enabled. Verify that the polarity is the same on all your drum tracks. If, for example, the snare mic and overhead mics are out of phase, that can cause exactly the symptoms you describe. Bounce the drums to a new track, then solo it. Or, alternatively, export the drums and listen to the file with Media Player or some other external playback software. Is the phasing still there?