OutrageProductions

It was a hot, muggy day in the summer of '97 when (now SIR) Rod Stewart flew into MSP on the Warner Brothers G5, sent the family off to do a little shopping at the MOA, and grabbed a limo to come over to the studios for a writing session with the principals. I met him at the door as he was wearing a straw hat, polo shirt, Bermuda shorts, open toed sandals, and carrying a 'brolly' (like it might rain or something?). Introductions and warm handshakes all around, and then I gave him a brief tour of the facility on the way to Studio Bodacious to meet with Jam & Lewis. Really a genuinely nice gentleman. As I walked out of the room and back to my duties, my only thought was: "jeez... that guy probably spends more on pedicures than I make in a year".

Check this (pardon but let's cover the obvious): Output of track 3 is going to track 8? Put track 8 into record? Any waveform recorded? Have you tried to drag the midi clip (track 3) down to the instrument track 8? Then <Bounce to track> to destination 9 (or next available). Or <Freeze synth> then drag audio clip to track 9 (or next available).

And be totally confused by that extraneous sharp in a key with 5 flats when looking at the note names in the PRV. ?

OK, so… I’m gonna tell y’all a little story from my days in a real studio. One day in ’94, I was doing an ADR (Automated [or Additional] Dialog Replacement) session for a film project where the talent was one of the two stars from “Lethal Weapon” (DG) for a private client. As he starts to read through the script and gets comfortable, I keep thinking “Man, this guy really needs to get a better fitting set of dentures, or this day is gonna be a nightmare”. I scramble into the EQ… that helps but doesn’t solve the issue I’m hearing on the C12 mic. So I quickly patch in a frequency variable D-Esser. Then… daisychain another and set a different frequency. Close, but no cigar. OK… for the first time in my career, I patch in a third D-Esser in series and finally tame the monster sibilance issue. Finally happy, I lock sync on the U-matic ¾” video playback and start rolling. Five hours of this. On playback, the talent said “I don’t think that I’ve ever sounded so good. Thanks!” And I managed to survive.

I rarely use the internal browser, but I just did some quick experimentation: If I save a project with the media browser open and set to a particular folder (Audio, Midi Groove Clips, etc.) and then reopen it, it seems to come back open with the same last viewed location. I tested a bit (tho not extensively) if Workspaces has any effect, and couldn't conclusively determine anything other than the browser opens (my default is Plugins) to the Media Browser, so it may be a combination of setting the browser tab open, save Workspace, then set your default view folder in media browser and save project. It would seem logical that saving (or modifying) your project template may do what you want. Worth trying. [edit] I just made a copy of my default project template, changed the browser view to Media/Audio, saved the template, closed CW, restart, reopen project and it is Media/Audio. Opened my original default template and browser opens to Plugins. Things that make you go "hmmmm".

I know that getting anything that has a currently effectual copyright released, even if only for educational purposes, is like pulling teeth without anesthesia, so I feel ya. Good luck.

I may be late to the party here but I've simultaneously run the DAW, Word (and/or Acrobat) in Text 2 Speech mode and captured the screen with all audio mixed using VB-Meter Banana (with my ASIO drivers as output) and OBS. Getting the stuff setup was a freakin' PITA, but ran without any glitches during my presentation. Especially with four monitors and trying to remember where I was teaching from.

In the documentation section titled "Using Content Location presets." "The Media Browser allows you to save and recall presets to quickly access your favorite folders." Is that what your looking for?

A 'brick wall' limiter is basically any comp that can implement a 'infinity:1' ratio and/or a hard knee. The PC-76 Comp in ProChannel has an 'infinity' ratio button, which is the electrical/technical equivalent of a brick wall. Set the input to where you want it. Unless your tracks are already clipping, and then you need to visit gain staging. Sonitus:fx Comp can also go to infinity with a hard knee, and can be inserted in PC via FX Chain. You could also normalize your tracks either before or after a BW limit/comp function.

Have you tried to just freeze the AmpleSound VST?

You could try email. Contact the original composer, publisher, or record label and request a copy of the original multitrack. Even the techniques to isolate or remove vocals are only minimally successful, so a lead guitar? Extremely doubtful. Sound waveforms are like paint... once you combine red & blue pigments to mix into purple, the convolution is nigh impossible to undo.

My Komplete Kontrol keyboard does that for me, and I don't even have to look at the computer monitor. ?

If your Enet is running at 100M or better, you should be fine to store projects, etc. on it. Saves & autobackups may take a second more, especially is the NAS is caught off guard or asleep. I used to do it in ProTools all the time, but that was before VSTs became a thing. I'd be a little wary of trying to load VSTi samples DFD from anything that is not directly on the machine be it NVME, SATA, or USB. If you have plenty of RAM then you should be fine.

Oh man... I have to choke back the tears of laughter from all the times I feel like stating this exact quote. Eggsellent work Byron!

In my habit of attempting (a-hem...) to sketch out a track everyday, I pasted together this stinger for a video game developer client of mine this afternoon in 6 hours and 10 minutes. (FYI; I just got emailed back & they will use it! Kool beans!) Piano - NI Noire Guitars - Shreddage 3.5 Stratus (x2) Bass - NI Monark Drums & Perc - Loops Strings - Amadeus Symphony Orchestra FX - Izotope Vinyl, The Finger

Any available LFO modulator like those available in Guitar Rig 6 and some clip/track automation would do the trick. But those EFX are not stock in CbB AFAIK. Or you could kinda hack it with just volume/pan automation.

True, but I often peruse the manual without having CbB open. I know... I'm a little nutty that way. ?

Impact Soundworks confirm bug in NKS script found last Thursday. Update to be released soon. If anyone else has Shreddage 3.5 Stratus, see if you can confirm a possible issue in the NKS: Power Chords Sustain articulation, notes from low E to C# octave are only making release noises, not actual pwrchrds. From D on up to D in the next octave is fine. In Power Chords Mute articulation the octave issue is reversed. Releases only in top octave, pwrchrd mutes in bottom octave. I'm trying to confirm if it is just my installation, or if some grouping got messed up in the script on this update (3.5 was released about 2 weeks ago). Thanks.

If using an external disc for tracking on USB3 ports, properly 'eject' the drive before physically disconnecting. That allows the OS time to finish housekeeping.

You will be much happier down the road if you invest in a reliable external HW I/O. For years I did location recording with a Presonus Audiobox (2x2) on my laptop and never had any issues. Plus it has 1x1 MIDI ports. Focusrite has compact I/O units that are great. @David Baay is absolutely correct; Ninvida HD drivers are notoriously weak and you should unload the task of ADDA from your i5 proc/chipset.

Funny that. You know you're in the twilight of your career when stuff that you did in 1999 encroaches on an otherwise comfortable elevator ride. And the studio that they were done in has been bulldozed in favor of high-end condos.

In 2021 I created (and sold!) two film teasers using nothing but ProjectSAM TFO. Man was I surprized that I got away with that.

@Starship Krupa is on the right path by using the devices specified control panel. Over the years with several different Firewire and USB devices from the likes of MOTU and M-Audio, if I reset or trashed the CP settings for the I/O I'd lose both sets of my Surround ouputs and be left scratching my head. Lesson learned the hard way. I have since always saved an export of the settings in a safe place. Once all 8 (+) channels of ADAT light pipe or S/Pdif are opened and bussed in the device they should show up in CbB. [And... in my experience... they like to run at 48k better than 44.1k]

I don't remember if Mike covers your specific query, but worth a watch.

@PavlovsCat You're too kind. But as a caveat (since it was mentioned), I DO occasionally use Izotope Mastering Assistant to slam out a quick reference for a client on the road to final mixes, but it (the interaction with AI) stays in the studio building, not out in the cloud. It does a fairly usable job for transmitting an MP3 ref, but when client expects high end results, I rely on my hardware & software suite, excellent ear training, and a generous application of another irreplaceable resource... time. Oh... if I could only buy more time. ?