Search found 11 matches


Re: How to select a range from the locators (on a single tra

Those commands are global and not track based. You are trying to use global tools to do a non global edit. Not very efficient.

Explain what you want to accomplish (not what tools you want to use to do it) and I'm sure someone may be able to help.
by ErikG
Mon Feb 17, 2014 1:48 pm
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Re: Film Music Scoring: how to isolate video track from Reve

Unfortunately without intending to sound mean it's "back to school"...
You have to try to learn and understand your tools to be able to deliver what is needed.
As a film and TV re-recording mixer, I'd get a bit scared if the person delivering a music mix didn't know how to mix or how the program should be set up to deliver what I need.
So either you need to employ a mix engineer, or learn your tools. Signal flow and bussing is the very basic of sound know how that everyone working professionally with sound just have to understand IMHO.
Spend the time to do it properly now, or it will come to bite you in your backside in no time...
by ErikG
Sat Apr 26, 2014 9:47 am
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Re: Cubase 7.5 / 8 - 'Unlimited' Inserts

Two comps in a row is a pretty regular way to deal with sound, one with faster attack/release for peak control and one with slower settings that is used more as a sound shaping compressor.
by ErikG
Tue May 20, 2014 6:25 pm
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Re: VCAs

Ju, VCAs are very useful when tweaking large projects both faders and sends (if included in the VCA concept). You can control tracks without mixing them.
In a score mix I would use the following VCAs just for strings: decca, close, wide, ambient. Could I do that using groups, yes, but I don't want them in different groups, I want it all assigned to one string group not multiple.

In a post mix I can have specific control of various type tracks regardless of what group or bus they are routed to. I can still control any fader individually at the same time as I can control the overall level of the VCA controlled signals.

VCAs add another layer of control and flexibility that can not be achieved easily using other methods.
I have used many "real" consoles over the years as well as PT (but prefer Nuendo) and in general VCAs are the most underused and misunderstood tools there is. Just like the PLE in Nuendo is.
I loved the VCA implementation in our old neve Capricorn console.
by ErikG
Thu Jun 05, 2014 7:30 am
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Re: Event Envelope - unity in center of waveform display?

For some reason a fix for this has not been prioritized.
And yes, the current implementation is cut level only.
But there is some logic to it.
The vertical center of a audio event is always a 6db cut.
by ErikG
Sat Aug 16, 2014 5:50 pm
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Re: Cubase 7.5 / 8 - 'Unlimited' Inserts

I fully agree Bredo, it's not a big thing at all for me. I just feel I need to argue against ideas that makes the product less usable than it is today.
And of course normal pre/post switches would be a good solution for everyone.

There are a lot of things that need attention before they start messing with inserts...
by ErikG
Sun Dec 15, 2013 7:00 pm
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Re: Detect Silence: how to achieve the opposite?

Here is how. It seems longwinded, but is fast when you get the hang of it. It's harder to write than to do!

First Create two new tracks, named EDIT and MAKE FILL (what they are named is irrelevant of course).
#1 Ctrl+alt drag dialog so you have the scene you need to create fill from on both EDIT and MAKE FILL tracks.
#2 Run detect silence on the Scene on the EDIT track.
Make sure settings are set low enough that not just dialogue is kept, but also large movments, clothes rustles and footsteps as well. Also make sure the pre/post roll is set at the minimum length you think might be needed to create good sounding crossfades. Click process.
Result: only the unwanted material is left.
#3 Check preferences, delete overlaps pref ON.
#4 Ctrl drag the selected unwanted material over to the MAKE FILL track (thus staying in sync).
Now all the unwanted material is SELECTED and all the fill parts are left between the selected events.
#5 Now delete all the selected unwanted material (just hit backspace).
Result only fill material is left but with a lot of holes in it.
#6 Enable snap+shuffle.
#7 Select all the fill events, but not the first event. drag the selected event to the end of the first event and you will now have your continous selection of fill material.

Now I would quickly listen through the transitions (with a slight preroll set in my transport panel), deleting events/trimming away parts that doesnt work well as fill.

Crossfade to taste. Dont apply crossfades longer than your set pre /post roll in detect silence or unwanted sound will start to creep back in during the crossfades.

Large parts of the above can be handled using macro and PLE making it a pretty easy and fast process.

Yes the explanation is longwinded and seems complex, but it isnt hard or complex when you've tried it a few times. The hardest part is actually setting the detect silence thresholds properly.

Here is a gif showing how to:
by ErikG
Thu May 23, 2013 10:31 pm
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Re: 6.5 - Why is saving still so slow?

Have you disabled hit point detection and deleted all hit points on all events in the project?
Hit points and automation and process history data are regular save time issues in N6.5.
by ErikG
Fri Sep 26, 2014 6:36 pm
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Re: Can Someone explain VCA faders to me please?

Kids these days...

No, VCAs are not about summing and summing engines.

VCAs are about control.
Film orchestra example:

Orchestra recording, when mixing I want to be able to set all the tracks individually, but at the same time balance 1st violins, 2nd violins, violas, cellos, contrabass and decca tree. And I may also need to control the 1st, 2nd and violas as a unit, and cellos and contras as another, and ALSO. Control the level of the recorded contra basses together with the overdubbed synth bass, but I obviously want to keep the actual sounds separate as they go to different stems but the control needs to be related.
Mixing it down to many groups is unecessary and limiting. I may need one strings stem and one synth stem so I don't want them mixed. But I DO need the control.

Pop example:
Bgvox, I want to be able to control the BGvox on one fader, but the processing may be widely different, and I do not want to limit myself artistically by mixing them down using a group. I may also want to control the level of the BGvox together with the synth vocoder so the balance stays the same, but I do not want to mix them.

I may want to control the level of all thrums, acoustic and electronic at the same time, but without mixing them.

And no, links and groups does not do the same thing. You may think it does, but it does not.

Maybe it's only old farts like me that have used real large scale hardware consoles that all had VCAs that fully appreciate the functionality, and if it is true that it is coming in the next gen release, I will be very happy.

I promise that when you truly understand VCAs, you do not want to mix without them (although you can, I have made it without them for a long time, but have missed them all the time).
VCAs is one of the few things I envy the implementation of in PT.
by ErikG
Wed Dec 03, 2014 8:01 am
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Re: "True Peak" metering

"True peak" is a measurement standard covered by the EBU R128 and it's various international versions.

But yes a true peak meter is in a way just what you described, a theoretical model of what happens to a signal as it passes through DA converters. It is used to set max peak levels avoiding output overloads. This metering is most commonly used for broadcast material.

But notice that the wording in the manual is somewhat strange as the true peak meter is part of the loudness meter (I don think it is available in Cubase) and have no relation to the "regular" peak meters within the application or in the control room meter section.
by ErikG
Fri Feb 13, 2015 10:52 am
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Re: +4 ... +8 ... ??

Sorry but that is a ill informed reply.
No you should not aim for your levels to be "at" 0dBfs. Not ever while working.
If you want to push your master that way, be my guest, but never risk distorting precious source material by overloading signals.

That 0db crappolino is some old remains from backin the days with 16bit recordings and bad converters.
by ErikG
Fri Feb 13, 2015 11:02 am
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