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Anderton last won the day on April 10 2016

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About Anderton

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  • Birthday 01/01/2001

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  1. Craig-

    Just downloaded CbBL a few weeks ago and have been studying tutorials,checking things out in the Ref Guide/Documentation etc ...been seeing all the articles you've written in SOS,found out about your book,etcetc.

    Thanks for making all this info available...

    Actually just watched some of your YouTube Sweetwater interview this AM,was studying the part where you discussed the PC EQ.  

    I also read about the FX Chain presets you created and,after spending some time trying to find them today,contacted Support and found out that they're NA and were only available pre-current company incarnation as part of a free promo w/the Sonar Professional/Platinum versions..

    I really had been looking forward to seeing what the KickMaster did after reading about it ..to be honest,after working w/various approaches trying to approximate kick sounds used in reference tracks ,it seemed like just what I was looking for...

    Although I realize the DAW has a ton of features that I'm just getting into using which can be applied to the kick(PX64 etc),I would greatly appreciate it if you could let me know the FX Chain elements you used and the parameters for each, as well as any other info I might need to be able to replicate it myself.. .or if you could send me a link to an online source for this if it exists...

    Again much thanks for all your contributions to the knowledge base for this excellent DAW...

     Gary Shore



  2. Mr. Anderton, you might change your birth date in your public profile unless you really are 18 years old.

  3. MIDI plug-ins work like audio plug-ins, except they process MIDI data. Steinberg Cubase, Cakewalk Sonar, and MOTU Digital Performer are probably the best examples of programs that take advantage of this feature. For example, a MIDI plug-in might restrict velocity values to a certain range, or transpose data.
  4. Aha! So the fact that you couldn't tell there was pitch correction proves that it works Your vocals are fine, I've heard them isolated and they're even okay then.
  5. Well, the good news is that the link for HC Confidential 148 is now fixed on both the home page and the listing of articles. The bad news is that, unfortunately, what you're experiencing is not a rare occurrence. The editors who put these articles together often open the article to do some editing and find some, uh, "surprises" - of which images not loading (but then loading the next time it's opened) is one of them. Sometimes font colors are dropped, sometimes articles disappear completely, and sometimes audio examples can't be loaded in the article - for the Ravish Sitar review, the audio ex
  6. Doesn't sound stupid at all, I use the "reduce peaks" technique all the time...I call it "micro-mastering." One of the great features in Wavelab is that it will find those "rogue peaks" for you. I often reduce the gain on an individual half-cycle in 10-20 spots, and find I can raise the level 3-4dB without any apparent effects of dynamics changes, or artifacts from compression. Thanks very much for adding info about that technique!
  7. The more harmonically-rich and complex the carrier, the more you'll hear the effects of the vocoder. For example, modulating something like a distorted power chord with drums will give really obvious results. A violin is a pretty rich sound, so it should be effective as a carrier if vocoded with something that has variations of energy all over the frequency spectrum. That's why drums make good modulators...flutes, not so much, although you could at least get amplitude-based gating effects.
  8. Or at the very least, a humanoid biped Thanks for the props!
  9. Thanks for catching that! I fixed the text. Some non-breaking dashes were broken when the articles were transferred from the previous platform to the new one.
  10. ...and if you aren't a good listener, doing lots of mixes will definitely train your ears
  11. Bach would agree...so would John Coltrane and Jimi Hendrix!
  12. I'm not Phil, but that's a good question. For guitar, I think close miking with room mics is a good combination. Bass is a little trickier because the low frequencies will often interact with a room to a much great extent, unless the room is treated acoustically. So, you can end up with dips and peaks that are a hassle to deal with when mixing. Getting a room mic into the picture isn't a bad idea, though, providing you can "tame" it and keep more of the amp sound in the overall mix.
  13. by Craig Anderton Digital audio workstation software, or two-track audio editing programs (like Magix Sound Forge or Steinberg Wavelab), can serve as test gear. Let's look at how you can make sure your studio hardware connections, and even samples, are properly in-phase. Before going any further, note that in most cases we’re really talking about a change in signal polarity, which means that the entire signal is phase-flipped, regardless of frequency. Phase shifting can be a frequency-dependent phenomenon. Although most musicians and engineers understand what the term “
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