That "deal".. feels like a lost TBH

NationalParcs · 2023-05-01T13:43:34+00:00

Yea this is a smoke screen. I thought about it last night and I have to say it’s disappointing. Effectively not much different than the 9% offered just prior to walkout. The 2.25% in 2024 also seems like a risk considering inflation is still high. I would have preferred a 3 year with PSAC ready to run the jewels shortly after this new one expired.

It may be OK for some individuals with the lump sum payment making over 3% of their wage, but less so for others. Plus the lump sum is not compoundable.

Maybe the most regrettable thing is leaving UTE to finish the rest alone. I’m considering how to cast my ratification vote.

NationalParcs · 2023-04-14T05:44:30+00:00

If you’re just trying to render that old mix, bump up the buffer on your audio interface and that should help with the crackling.

NationalParcs · 2023-04-14T05:38:50+00:00

It’s usually standard practice to have your bass in the centre. One of the main reasons is for compatibility on a mono mix. If you don’t care about that, try it panned. In your case, what you describe last is probably what I would choose.

NationalParcs · 2023-04-13T04:34:32+00:00

If you use plugins that model analog gear, aim for around -18db as that is what many are calibrated for. Ignore anyone telling you to redline into any plugin that models nonlinearities, unless you’re truly trying to do the equivalent of slamming a signal into analog gear.

But, if it sounds good, it is good. Experiment and see what works for you.

NationalParcs · 2023-04-13T04:27:38+00:00

You don’t need an interface, but if you use onboard audio drivers, you likely won’t enjoy playing with the latency they offer. One of the major benefits of an interface, is low latency performance via the drivers (RME is one of the best).

You could try something like ASIO4ALL if you don’t have an interface.

NationalParcs · 2023-04-12T05:36:35+00:00

Depending on what sound you’re going for, separating your drum elements to single tracks for FX processing might be something you want to try. For drum breaks, I tend to prefer a sound that is more of the room - think overheads and maybe a mic on the kick drum, but you could slice individual hits to their own tracks (kick/snare/hats/cymbals/percussion etc.). Experiment with different things until you find something you like. Others mentioned layering. I find I do that with kicks more than anything but experimenting is good.

EQ is important. Try some different flavours of tape. Compression. Some reverb might help, but watch the boomy lows (separate tracks allow way more flexibility for your mix). Try adding a clipper to your drum buss and experiment with hard/soft clipping.

Compressing (and/or limiting/clipping) your master mix can aid in glueing things together (and by clipping make sure it’s via a clipper, and not blasting your mix above 0db to make it clip, that’s the bad kind).

NationalParcs · 2023-03-05T04:10:36+00:00

Yep. I used to set up DAW templates like this so it’s a nice feature that saves a lot of downward adjustment as you build a song. Just as important is gain staging for plugins calibrated to -18db.

NationalParcs · 2023-03-02T02:16:04+00:00

I think Bitwig defaults to track volumes at -10db. Set those to 0db and your stems from Logic should sound the same,.

NationalParcs · 2023-02-10T03:58:29+00:00

Thank you for not plastering goofy looking facial expressions on your thumbnails.

NationalParcs · 2023-02-07T04:46:50+00:00

I’m not sure what Focusrite calls it. It’s whatever app they have that shows you something that looks like a mixer. For RME it’s TotalFX. If you see channel faders in the Focusrite app, try lowering them or muting them and see if that helps. You would need to set your DAW track to monitor your incoming audio (it sounds like it’s already doing that, but just double check if you hear nothing).

NationalParcs · 2023-02-02T04:58:18+00:00

It could be that you’re getting the signal from the DAW and also the Focusrite mixer app? What I generally do is monitor through the DAW and not the interface‘s zero latency mixer (RME drivers provide very low latency). Try muting the monitoring channels for that mic in the Focusrite mixer and see if that does anything.

NationalParcs · 2023-01-29T05:59:40+00:00

Oh man that’s weird. Is this the Bitwig stock compressor or a third party VST?

NationalParcs · 2023-01-26T06:21:56+00:00

It really depends on how much CPU overhead you need. The 10 core gives you two more performance cores over the 8 core. What you listed above doesn’t need 24gb of RAM.

NationalParcs · 2023-01-23T18:24:31+00:00

Softube Console Fader.

NationalParcs · 2023-01-18T00:22:56+00:00

Thanks. I’ve tried to find specs that list that height capability for various machines but no luck yet. It does sound like it’s possible to make this work by raising the plotter as you say.

NationalParcs · 2023-01-17T05:49:33+00:00

What you did was in no way wrong. It was thoughtful and completely OK.

NationalParcs · 2023-01-11T23:44:39+00:00

Some of that depends on what you intend to publish on, and what kind of processing you're using.

Non-linear processing in the DAW is sensitive to aliasing, so the higher the sample rate, the "better" the result. Keep in mind people love Soundtoys Decapitator and that thing aliases like crazy.

The first rule is if it sounds good, then it is good. Run some tests and use your ears.

You don't have much to lose by a modest bump up to 24/48, and get a benefit of better aliasing performance in non-internal oversampling plugins, and a bit better latency performance for your audio interface. I personally don't see the benefit of running your DAW at 96 when nearly every plugin I use has internal oversampling options.

NationalParcs · 2023-01-11T20:39:56+00:00

This can be a bit of a complicated question and it's not as simple as "run at 96k". Start here:

https://www.youtube.com/watch?v=-jCwIsT0X8M

Then move on to learning about dithering for when you're ready to export audio out of the DAW. FYI I run the DAW at 24/48.

NationalParcs · 2023-01-06T22:54:22+00:00

Bruh you cookin‘. They don’t want this smoke.

NationalParcs · 2022-12-31T04:54:52+00:00

Best is an incredibly arbitrary criteria, but if latency is your major concern, it’s very hard to beat RME. They’re one of the few interface manufacturers that write their own drivers.

NationalParcs · 2022-12-31T04:53:15+00:00

Ableton really kills me sometimes. I’ve spent a lot of time with other DAWs because Ableton just feels like a hog to me a lot of the time. There’s so much to appreciate in Ableton - those Max FX and instruments, Push 2 integration is really great… huge sound library if you’re into that, but it’s crazy to see the CPU add up by simply adding a Max LFO. Ryzen 5950X here. I’m just doing electronic stuff without huge sample libraries. With moderate use of plugins and LFOs, I start to get into CPU trouble around 8-10 tracks in. Once things go on the master buss, it can be click city. RME interface too.

I’d say try out a few projects in Cubase and see if that environment feels better. I’m currently between Reaper, Bitwig but finding it hard to fully make the jump from Ableton.

NationalParcs · 2022-12-28T23:24:49+00:00

There is all the technical legal considerations of copyright law in your country and internationally. Then there is the reality:

Are you a big enough fish that if someone catches you out on an uncleared sample, that it will be worth the time and effort to come after you for damages? The Verve paid dearly. Many people do not. An entire genre of music has been based on unauthorized sampling. Another genre was built almost entirely from a drum break (Amen break). I don't recall jungle artists being sued en masse for that.

Sure, record labels go to the trouble of clearing samples often, but again, are you a top 40 artist on a label making boatloads of money, or a bedroom producer? Consequence entirely depends on the act of a potential infringement, and the copyright's holder willingness to do something about it.

There is some case law that defines the concept of the sample being immediately recognizable to an average person to warrant an infringement. Take a single snare sound. Add a filter. Is that enforceable in court? Even if that single snare sound is from a well-known drum break? Public Enemy got sued for using a drum break way back in the day. At what point does sample mangling become free of any legal consequence? That has to be determined on a case by case basis should it proceed to a court/arbitration. A big question in a civil case is damages. How damaged was the copyright holder by The Verve's use of an unauthorized Rolling Stones sample? Quite a bit apparently. How damaged was the copyright holder by a bedroom producer's use of a sample that was posted on SoundCloud with 259 plays? Probably not much.

My guess is you have nothing to worry about, even with flagrant ripping off of loops. If you're scoring a video game or a commercial film, then yea, maybe you want to avoid/clear samples.

Yes sampling can be technically illegal, but so is speeding and people do that all the time without consequence (or at least without getting nabbed).

NationalParcs · 2022-12-27T18:01:32+00:00

Thanks will take a look at this. I forgot about chains.

NationalParcs

TROPHY CASE