Jerry Gerber

Perfect! I spent all of yesterday unwiring the 1248 and wiring the UFX ii. Everything went smoothly other than my unfamiliarity with TotalMix software. The sound is a little more "crisp", a bit more detailed than the 1248 and the software is definitely easier to work with. I'm still confused about the way RME names their drivers, I definitely could use some explanation. Thank you for asking Tom.. Jerry

Hi Timbo, Sure, thanks for asking! First, since is the 2nd movement of a longer work, I decide which elements (if any) I use from the 1st movement. In this case I ended the 1st movement on C# with a recognizable motive in the cellos and basses and used that to begin the 2nd movement in a different tempo, and including 8 soft synths; there are no synths in the 1st movement. In choosing the synth timbres the first thing I do is decide which synths I want in the piece, in this case I chose Dune and Zebra. Then, I go through the laborious work of listening to dozens of synth patches, some of my own and some factory patches, to see which ones I want in the piece. I chose 4 instances (timbres or patches) from Dune and 4 from Zebra. Sometimes a patch will need light editing, often adding cc's to control the release time and the delay cutoff time. Then I choose the orchestration, in this case a modest sized ensemble of 4 horns, trumpet, percussion, synths and string section from the Vienna Symphonic Orchestral Cube library. Then I begin composing. For me, I never have a particular form in mind when I write. I believe that form grows from content, every measure I write determines what comes next. Even in song form I never think "verse, chorus, bridge, etc.", but rather let the music determine the form. This allows for more experimentation, and doesn't lock me into trying to fit music into a pre-existing mold. The composing continues until I feel I've said everything I want to say in the piece. I do usually have some idea how long I want the piece or movement to be, in this case I set a parameter of between 5 and 7 minutes, I think it's about 5:30. I do all of my composing in Cakewalk's staff view, and all cc programming in the event list and controllers view. I also use tempo view a lot when inserting tempo changes, ritards and accelerandos. After the composing is complete I send a Cakewalk MIDI file type 1 over to Sibelius and create the score. The last step, before rendering to a stereo wave file is to go over the event list details of every track looking for errors and unnecessary programming. I master in Cakewalk and use EQ, Dynamic EQ, sometimes I'll use the Ozone exciter or the Sonnox Inflator. I usually also make use of volume envelopes once the stereo wave file is recorded to match sections dynamically. That's it! The devil's in the details, so the more MIDI programming I do (attack times, release times, velocity, note lengths, cc11s, etc), the better it begins to sound. I hope this is helpful in your music. Best, Jerry

I really enjoyed that Bjorn. The music goes well with the beautiful images. It makes me want to get on a plane and go to Norway. It's exquisitely beautiful. On the other hand, I am very sorry to hear about your experience with COVID. That is exactly what makes me not want to get on a plane and go anywhere. Thanks for posting! I hope you fully recover! Best, Jerry

I'll learn more when I get it set up. The MOTU 1248 shows up in Cakewalk as only the USB channels that allows for playback/recording and softsynths, although I can still send audio out the analog ports of the 1248. It seems like a naming issue, that's all. Thanks Scook.

Wonderful! Can't wait to set it up and resume writing and recording with it.. Thanks Tom.

Hi Tom! I purchased the UFX II today. I'm busy studying the manual and images of TotalMix FX to learn it as quickly as possible. I saw an image online of Cakewalk's audio device menu with an RME interface and I thought it strange that the USB device channels were listed something like "RME analog 1". I have no idea what USB data, whether going in or out to Cakewalk, has to do with the analog hardware ins or outs of the UFX II. Hmm... TotalMix FX looks fairly easy to learn. Can't wait till it arrives... I never switch sample rates so I probably would not have even noticed that. But all in all, does it play nicely with Cakewalk? Thanks, Jerry

i am considering purchasing the RME UFX II audio interface. Can anyone around here share their experience using this interface with Cakewalk? I've been using the MOTU 1248 for 4 years but Iike TotalMix software better. I also hear a lot of great things about the UFX II's mic preamps.. Thanks, Jerry

Thanks for listening bdickens!

I finished the 2nd movement today. I love working with softsynths, particularly in combination with orchestral samples. This movement is scored for 4 horns, trumpet, timpani, tambourine, cymbal, glockenspiel, celeste, 4 instances of Dune, 4 instances of Zebra and strings (1st and 2nd violins, violas, cellos and basses). I hope you find it interesting! Since I finished the producing today, you people are the first in the world to hear it, it's a world premier! ? PLAY Jerry

Thank for taking time to listen Nigel! Jerry

A short piece on my album Virtual Harmonics. PLAY Jerry

This is a short piece on my album Virtual Harmonics. PLAY Jerry

For those music lovers who don't want to buy full albums, I now have downloads, either high-resolution wave files or mp3, available on my site. Every track from every album I've produced is there. Click here to browse! Critical reviews from music journals and online music magazines are here. And, for those music students and other curious people, scores to nearly all my works are available on each individual CD page at no charge. The link to my CD catalog is here. If you have any question, please ask! Jerry

It was just announced that in my area a midget fortune-teller escaped from prison. Everyone should be on the lookout for a small medium at large. My doctor told me the bad news today--I have been diagnosed with kleptomania. But I'm not worried, as I'm taking something for it..

I added a few more tips that may help to get the most expressive performances for your compositions. (see above post)

Well, I don't know if it would be the best way for you, as everyone works differently with DAWs. I do almost all of my programming in the event list. When I need to insert a program change or a CC change I do it very quickly in the event list. The VSL library uses a horizontal and vertical grid that has up to 12 cells in each grid, each cell controls a set of samples. I also use the controllers view frequently when deleting cc7s or cc11s if I have to re-think those. And finally, all of my actual composing, in contrast to cc editing is done in the notation editor. So, if I have a note that begins with a legato patch, I'll program 1 tick before the note (always put the note 1 tick AFTER all of your patch and cc programming to make sure that the note is affected by those controls!) patch change = 3 (in my case I use actual names that I program in Cakewalk's instrument section) cc11 = 96 (track volume at that point in time (I use cc7 for overall track volume) cc18 = attack time cc19 = release time cc22 = which articulation VSL will call up, for example within the pizz patch there's normal pizz, snap pizz, etc. cc33 = same as cc22 except this control the next row of cells if there is one cc44 = this changes dynamic patches from soft to loud to loud to soft There's a few more I use but not often. And then there's every note's velocity, location relative to the beat and the note's length--very important to get proper "phrase-shaping" so that the notes you want accented really are and also to create strong and weak beats. Finally, the connection between notes is as important as the notes themselves when it comes to phrasing. Selecting the best sample set for the passage is the first issue, once you do that you can fine tune the phrase with the techniques I mentioned. Remember that with MIDI if one note overlaps (is longer than it's default time) into another note of the same pitch, the 2nd note won't sound. In that case, instead of increasing the note length of the first note, extend the release time or choose another sample. I attached a screenshot of the event list so you can see an example of what I am referring to. I hope this helps. Event List Example.docx

Hi Mark, I've long said that MIDI makes a lot possible, but not necessarily easy. MIDI controllers are the key to creating an expressive "performance". I do spend a lot of time with controllers, it's all about detail, detail, detail. Particularly important are note attacks and release, and, of course, choosing the best sample-set for the phrase in the first place. Paying attention to velocities. tempos and strong and weak beats is necessary to create a convincing MIDI performance. The more programming you do, the better it will sound. If something bothers your ear, fix it. Do not gloss over it. Fix and improve every little detail that isn't right. My library-of-choice is the Vienna Symphonic Library Orchestral Cube. It has about 764,000 24-bit samples and I doubt I will ever need or want any other library. It's fantastic. I use it with MIR, which is an incredible spatial convolution reverb that lets me place instruments where I want in the stereo field. There are a lot of libraries available now. It's more about one's skill as a composer/orchestrator/producer than it is what library you use. There are many good libraries now on the market. I haven't found a need to use Cakewalk's articulations as of yet. I've looked at them but cannot see how they'd save me any time based on how fast I work and how well-established my sequencing habits are. But who knows, perhaps in the future I may find a way to make use of them. Thank you for taking the time to listen to this movement. I know I am asking a lot of a person's time, but always hope that the listener finds that their time was well-spent. Jerry

Well Bjorn, you've inspired me to contact NASA, so I did. They generally use more pop-style music in their video productions, but, who knows, maybe they'll be open to the kind of music I write. The images from Webb are stunning, particularly the 1st one of the multitudes of galaxies some 13 billion light-years away. What a mind-blowing universe we live in. It truly boggles the mind.. I'm not going into many studios these days because I was recently diagnosed with kleptomania. I am taking something for it. ? Best, Jerry

Thanks Max!

Thanks for listening and commenting Andy and Bajan.. I recently was interviewed by Colin Clarke of Fanfare Magazine. Here it is for those interested:

Fanfare Classical Music magazine has been doing a series of interviews and reviews of my albums. Here's one of the interviews with Colin Clarke: https://www.jerrygerber.com/fanfareinterviewcolinclarke.htm

Thanks everyone for listening to this new movement. I'm busy composing the 2nd movement, will post when I am ready. Best, Jerry

Hey everyone, I've been taking a break from posting music on forums for a few months to focus on new composition. I recently finished the 1st movement of my 12th symphony. I know, according to legend, I'm supposed to be dead after writing my 9th, but since I'm not dead yet I'm still at work! This movement has a wide dynamic range and starts softly so keep that in mind when adjusting your listening volume. Made with love in Cakewalk! PLAY Jerry

Hey Bristol, You solved it for me! Thanks. I don't use screensets anymore as I prefer workspaces. But the files I was having this issue on had screensets hidden on the Control Bar locked. As soon as I unhid them and unlocked all of them, the Hide Tracks function works again. Best., Jerry

I'm running the newest version of CW and have seen this issue in previous versions. I have a file with 33 MIDI tracks. After composition is complete I insert an audio track and render to the piece to audio. If I am satisfied with the recording, I mute, archive and hide all of the MIDI files so I can focus on post-production issues and wave file enhancements. When I save the file and re-open it, all of the hidden tracks, except the last one (#33) are visible. It doesn't matter whether I use a Workspace or not. CW doesn't remember that the tracks are hidden. It also doesn't matter whether the tracks are muted or archived. I've tried this on two machines, getting the same result. CW doesn't remember hidden tracks anymore. I've also tried this with several different .cwp files and they have the same issue. Might someone know what's causing this? I have all CW folders, including all audio and midi drivers, excluded from my anti-virus software. Thanks, Jerry