I also tried to update MC 8.6.1 to 8.6.2 through AppManager. Tried starting MC after the reboot and crashed. Tried rebooting and starting again, same issue of crashing. Manually installed MC 8.6.2 from the folder that AppManger saved it in. After reboot, MC stsrtd and worked as normal. Crazy AppManager strikes again.
All in favor of firing the AppManager? It's not AppMan that's at fault. I never use AppMan. Installing 8.6.2 completely separate from AppMan without AppMan even running got the same result here. No trouble with 8.6.1, then installed 8.6.2 and MC won't run without a crash before getting to the open project dialog.
Identical issues on Lenovo R400 on Win 7 Ultimate X 64 running the very latest (@ July 2011) drivers from Lenovo, Intel as well as Windows 7 Update. The issue is best seen on this laptop by putting the laptop to 'sleep' with open graphics windows (e.g. Spider Solitaire). Pixelation is evident upon 'wake up'. This issue has not been experienced upon fresh boot on this laptop, almost always after 'waking up' the laptop as I tend to regularly suspend the laptop during normal use. The very excellent suggestion on this forum, to disable both virtualization options in the BIOS, also resolves the pixelation issue on the Lenovo R400.
Well I was on hold with the dell rep earlier as he put the 'paper work' through to get a new replacement motherboard sent to me, and while I was on hold something in my good 'ol brain clicked as I tried to think of what this user had setup differently than our other E6400 users did not. And I remember that this user used to use Virtual PC, so I had the 2 virtualization options enabled in the BIOS.
Sooo off I went into the BIOS while on hold to disable these options. I then booted into Windows, let it install the latest video drivers from MS Update, and I then rebooted and tried to reproduce the problem with Aero enabled. And guess what??? I could not reproduce it anymore! I have the laptop back in the hands of the user now and so far for the past hour or so it has not happened again.
Sooo for those of you who have this problem disable your hardware virtualization bios options to make the issue go away. I had already upgraded from A01 to A17 bios a few days ago as well but that didn't help, so it's not something that was fixed by a newer bios. When the tech returned from having me on hold he canceled the motherboard replacement and so far so good, no issues once the virtualization options were turned off. Yay!Sorry to jump into this thread. I was facing similar probs since long and i used to log out and log in to set right the distortion (refresh didnt help) can you explain on where you got the option to disable virtualization?
My hardware spec: T 500 Laptop, Core 2 Duo P8400 2.26 Ghz processor, GB DDR3 ram, Intel Series 4 Chipset. Display Resolution: 1280 x 800 I am running Windows 7 Professional 64 bits SP 1. Just for info, i do not have any such problems on the other 2 OS i am using. I even uninstalled the display driver and rebooted so that windows searches for new driver and installs.
Still same I would really like to get over this problem. As an update to my previous post. I followed this change after disabling the virtualization from bios, i booted to win7 and re-installed the driver. This time with a change. I unchecked the check box that said re-run windows and activate for aero themes or something like that.
The system asked for a reboot and now the distortion seems to have gone. I am almost 15 minutes after booting and the display is stable!
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All my previous attempts i noticed that till i went for rebbot, distortion was not there and after reboot i was back to square one! This behaviour prompted me to uncheck the box and then go for re-install of the driver which seems to have solved the issue. Thanks to all of you guys who have helped me in identifying this problem. Similar help and support threads Thread Forum hi there ive just installed win 7 pro oem after having vista. Before i installed i did a full backup to external hard drive.
I installed win 7 oem and tried to restore from backup and its not working, internal hard drive is still showing 400gb of info on it but everything is hiding. Installation & Setup Hi everyone, I'm new to Windows 7, just bought an HP laptop two months ago and I love it. The machine came with the same Intel display driver that my old Dell had. Everything worked fine until I updated the driver with a Windows 7 'optional' update. Now, every time I unplug my machine, the. Graphic Cards I have read and I have read and I have read. I have gotten advice from all kinds of posts but NOTHING IS WORKING!!!
This is frustrating the snot out of me, ESPECIALLY since I had everything working just two days ago! Here's my setup. Desktop with WinXP Laptop with WinXP Laptop with Vista.
Network & Sharing After I installed Win7, my 1600x1200 resolution display is distorted. Round objects are oblong. When using same hardware with XP, display was correct. Using Nvidia 9800GTX card on a 37' LCD TV via DVI connector on both ends. Switching to 1600x1024 solves the problem. The question is why is.
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Proper workflow/process for metering and manually levelling tracks with automation? Happy Sunday, all. Just another query about a mundane but potentially beneficial mixing task. So after I purchased the Concrete Limiter in that recent sale I posted a thread about using it on a bass track to smooth it out. I did not get a chance to reply because I got busy with some life mayhem but sharke and scook made provided an excellent insight.
Basically it was to use volume and/or gain automation to level the track as best as possible before applying and limiting or compression. I have seen this done in many of the more professional mixing tuts I've watched but had kind of let that concept fade into the white noise of all the other stuff I'm cramming into my noodle but in retrospect it is definitely something I'd like to do even if it is labor/time intensive. So I need a proper workflow and could use some tips. 1) Metering: I know I can eyeball things with wave and/or just listen but that's a little imprecise. I was thinking that I could set the track level meter to 'Peaks' with the 'Hold Peaks' option engaged, pick a target dB level and then watch for spots that are higher/lower than the predetermined level I want.
Then I just adjust the envelope accordingly and double check to make sure it doesn't sound weird. Is there a better way to do this or a better tool/trick within Sonar? Is there some secret way to choose my target level based on the overall level of the track so I am not turning things up/down more than they need to (I'm assuming some kind of RMS metering beforehand could help)? I'd like to avoid a) create more work than necessary for myself as well as not somehow weakening the signal (if that's possible with such things).
Volume: sharke initially mentioned volume automation but scook followed up with gain automation. I'm assuming that gain would be the one I want to use so the signal coming into the PC/fx bin is already smoothed as opposed to using volume which depending on Pre/Post status(es) of the strip would merely adjust the end result which would mean the limiter/compressors would still be getting slammed with the spikes and whatnot. So Gain or Volume envelope? 3) Nodes and Envelopes: I have always shied away from extensive envelope manipulation because it just seemed weird and confusing to me in the past. Until the past couple years I actually used to just slice up clips and adjust the entire line instead of messing with fancy curves and nodes and whatever else and it was ALWAYS just volume/gain tweaks (which I didn't understand the difference between until just as recently). Point is I understand envelope automation now from a theoretical standpoint now but am pretty much a n00b in that regard.
So a couple questions to make things easier. A) What is the best/quickest method for inserting 4 nodes? Ideally I'd like to just swipe a problem area and have 4 nodes created automagically (straight on the line so there are no changes even if I'm a little above/below the base line) so I could then just drag the line in between the outside ones up/down and move the nodes back/forth on the timeline as needed for fading. I do not want to have to click four times just to create the initial nodes or worry about causing level changes when inserting them.
I just want four nodes at 'unity' (or whatever the base line is at) then adjust from there. Perhaps a lot to ask but that seems like the most common set up for an envelope change. Sorry if that's confusing. B) Constraining nodes: What is the binding to constrain nodes to their current level? I should just look that up but basically I just need to keep my two outer nodes at their current level so I don't end up making then outside of the envelope area angle.
C) Tools: Which tools are best suited for this type of envelope editing? The Smart Tool is great for cruising around but I find it a pain in the butt trying to hunt around for hotspots or remembering elaborate key bindings when I am doing lengthy/repetitive tasks such as this. Many times using two dedicated tools and using the toggle binding is sooo much easier so which ones should I fiddle with first to do what I am describing?
I know this is all stuff I could crash course myself on and probably will but am interested in hearing some more experienced users workflows in this regards. I won't be doing just a little bit here or there I actually want to go almost transient to transient with my automation envelopes with certain things so getting these skills down is important.
As sharke pointed out in the thread I'm referring to the really intense pros envelopes end up looking like a pile of wacky spaghetti sometimes. I think it could definitely help make the final mixing easier, FX work more effectively and the end result sound more pro.
Could be an interesting discussion too. Cheers and thanks.
I'm polishing a comp right now (unrelated. Just tightening up splices) so I'll be back and forth. Answering that fully would take me the rest of the afternoon! But here are two of my favorite tips.
The meters have an adjustable range (right-click on the meter). If you set it to cover only the top 12dB, you can see which sections spend most of their time in that range and which ones don't.
To even out vocals, I drag across phrases and sometimes even individual words in a clip and use Process Apply Effect Gain. Vocals are one situation where I generally want a truly consistent level, as opposed to instruments whose levels change to create dynamics. Once the vocal waveforms are all in the same ballpark, then you don't have to apply as much compression to even out the levels. I almost never use automation on vocals except clip gain automation to raise of lower specific sections a bit.
Sorry, Craig. It's been on my mind for a few weeks so I've been trying to envision the workflow and that's the end result.
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Don't expect any point by point answers. More just ideas on the specific points from the automation fiends. I will look into the metering option. That's a good idea for finding spikes and hadn't considered it. Not being familiar with that feature I'm only guessing but I'd imagine I could then set it so that after I tame the spikes I could set it so that the signal I want (that I have already set my spikes to peak at) will be the very top of the meter. That way the desired levels will register as a full meter and areas that need to have there volume increased dip. Probably didn't explain that well but theoretically it could work and be more reliable than the Peak/Hold option.
As far as the Apply Effect. Again something I'm not familiar with but that seems a little too permanent and non interactive to me. I'd like to keep my options open until I have it completely correct and cutting through the mix where need be.
I also need to learn how to quickly and effectively use envelopes anyway so it's a bit of a learning exercise as well (which pretty much defines everything I'm doing with my current project). Thanks for the suggestions.
Your going through a similar process I'm going through as I'm in the final mix of an album so I'm dealing with 16 songs. Truthfully 8.5 was way easier for me when messing with tracks, audio and MIDI. I don't like the behavior of the the editing tools even after 3 months to get used to it I'm NOT! It's true it's better to start with a nice even level on a track and this is why I use a compressor going into my DAW on bass and vocals. But still there will be peaks. Your trick with using the peak meter to look for them is what I do too. Drawing envelopes is Sonars way of dealing with level.
It's as your finding out a very tedious task. There is a better way.
The Tool menu. If you've ever used a wave editor like Wave lab, Audition or Sound forge you'll see the much faster, easier way to deal with level. You simply zoom in on the wave ( scroll wheel), Highlight the peak and a tool will be there to change the level, all with very quick mouse move. They will also scan for peaks and mark them. The nay sayers all shout ' That's destructive editing' So what!
You do have a back up, and I have never had anything go wrong or 'heard' an artifact in over 10 years of performing this process. You can go both ways too, If a part is too quiet apply a + db. It's doing the work a lazy person would do with a compressor / limiter manually.
If you get good at this you can construct a perfect track.you can even cut out noises which are more in your face when working on a solo track. You can zoom in to the sample just about. So one way of dealing with track editing is to TOOL COPY the track into a wave editor. I used to do this big time when I had Wave Lab 5 and Sonar 8.5./ XP 32 bit. It was pretty cool.
But you have to get your editor to show in the tools menu. I have a theory that it will show automatically if it was installed before you installed Sonar. ( I'll find out later today. ) But if it doesn't show the instructions are in the knowledge base somewhere, I have them printed off, scook gave me the link. I just downloaded the trial version of Sound Forge and I'm liking it a lot. I can't get Wave Lab 7 ( 64 bit) to show in the tool menu so later today I'm going to try my luck with Sound Forge. I just put Windows 8.1 on my office computer and am using it as the guinea pig before I re do the DAW.
So I'm off to install Sonar now that Sound Forge is running ( for 30 days). That sounds pretty intense. The only real wave editor type thing I own (on my main DAW) is Pyro and as much as I love it I think it would end up being more cumbersome (and I think it has a samplerate/bit depth limit I would generally exceed at 96/24). The Tool Copy thing is something I have never heard of and will have to look into it if only for curiosity's sake. I'm used to being able to explode clip sections in my old DAW but Sonar (X series) doesn't seem to do that. At first I thought it did but it turned out to be the Loop Constructor View (which was ever so confusing when I first encountered it thinking I was merely dealing with an exploded view.
However with my limited fiddling with the automation envelopes in Sonar X2/X3 it will do what I want it to. It's just a matter of how annoying and tedious it's going to be. I REALLY like the fact we have automation lanes because that was one of the things that made me shy away from envelopes before (it's confusing to look at a pile of spaghetti when you barely know what you are doing as it is). I just need to approach all this logically. Basically my experience so far has been a lot of fumbling around trying to insert the nodes I need without altering the envelope then trying to get the desired effect. Eventually I get what I want but I can't spend two or three minutes (at best) setting up a single alteration if I am doing transient to transient work. I just realized that I need to figure out how to link envelopes across tracks too because of all the dual input stuff I record.
I think that is just a matter of creating a group on the specific parameter though (like right clicking the gain knob on one track, setting the group then adding the second tack's gain knob to that group. Yeah, I'm a babe in the woods here. And I thought this would be simple. Hi Beepster, Yeah, volume automation is both VERY common and VERY tedious. I've not used meters too much, I mostly just work by ear.my rationale is that sometimes something can sound too loud or too quiet even though from a pure peak/rms perspective it's not out of acceptable levels. A couple things I do: 1.
Where possible I try to use an automatic leveller these days. Vocal rider has become one of my go-to tools. It will actually generate an envelope for you that is remarkably good: There are some others out there as well.I think Melda has one, but I'm not sure if it will generate envelopes for you. Control surface. Once things are generally levelled with a plugin I'll usually take a pass or two just 'riding fader' to take care of the things I mentioned above (stuff that sounds too loud/soft even though the basic RMS/peaks are fine). Use a control surface to write your automation envelopes and do a couple passes.
Only after trying that do I start going in and creating automation points and dragging them around. Usually I can get about 95% of the way there by using the first two methods and only have to draw stuff in a very small amount. Oh, and one thing about gain vs. Volume.it really doesn't matter, they do the same thing just at different points in the signal chain. If you want to add level before the P.C., FX bin, Sends, Pan and whatnot, use gain. If you want to do it after use volume. Good luck Dean.
Here's the instructions for adding a Wave Editor to the tools menu Pyro is a burning program and not a wave editor, it might include some basic tools. The good Wave editors all cost money, Wave Lab Elements is $98 the least expensive so I bought that. But It no workie in the tools as I said. Steinberg and Cakewalk just don't play well together,it's a plot!
There are demos I'm running this one it's awesome. There is a way to demo Adobe Audition too but they make it weird with the cloud thingy. OK it's finished updating, back to work, Now to install X3e. Deep breath and more coffee. Hope you're well. That Vocal Rider thing looks interesting and gives me a pile of ideas as far as envelope creation for other creative purposes (some of which relates to tracking/plotting EQ stuff to follow fundamentals or other ridiculous mayhem that is woefully off topic).
As far as traditional fader riding man is that a romantic premise for me and I'd love to be able to do that skillfully but is certainly an acquired skill and in need of a decent control surface (which I don't really have aside from the piddly knobs on my Oxygen 25 and padKontrol but do intend to do some live level rides eventually with those device but more for creative effect weirdness). Now if I could figure out a way to maybe get something like the concrete limiter to write an automation envelope that might be interesting but I'm not sure if that is possible and it would probably be more just a guideline envelope I'd attempt to recreate manually. I agree with using my ears for this but I think what I'd like to do is do it by numbers first (basically get everything leveled to a static number) then listen back soloed then again in the mix and adjust as needed to sit well.
Obviously after that as I continued mixing I could alter the envelope(s) further. Just build it up (or tear it down) as the mix progresses. My current method of 'set it and forget it' with minor alterations has been fine for my little experiments and personal mixes but it's time to move on if I ever expect to be taken seriously. Fortunately I'm obsessive enough to not mind doing it all manually but I do have my limits so a good workflow is crucial so I don't spend too much time on minutia (which I am prone to). As far as a Wave editor I have an ancient version of Wavelab on my old DAW but can't port it over or have the money to get a new version.
I'd rather snag some Izotope stuff anyway though and that's been on my 'must get' list for a while. I forget exactly which bundle I was looking at but it was the more mastering oriented thingies so if it can integrate into Sonar as you have described (which I was not aware of) then all the better. Cheers and thanks. Cactus Music Here's the instructions for adding a Wave Editor to the tools menu Pyro is a burning program and not a wave editor, it might include some basic tools. The good Wave editors all cost money, Wave Lab Elements is $98 the least expensive so I bought that.
But It no workie in the tools as I said. Steinberg and Cakewalk just don't play well together,it's a plot! There are demos I'm running this one it's awesome.
There is a way to demo Adobe Audition too but they make it weird with the cloud thingy. OK it's finished updating, back to work, Now to install X3e. Deep breath and more coffee. I think I may have morphed my reply to you into my reply to Razorwit. As I said I've been eyeballing some of the Izotope stuff for future purchase. Do you know if that integrates in the same manner?
John T Not really, because you can't keep tweaking a frozen track on the fly. I'm not too familiar with the bus waveform draw but doesn't it require a second click of the button to redraw the waveform? I didn't consider it a real time type thing and therefore figure it would take approximately as long to freeze a track (to view the waveform) as it would to draw the bus waveform. Still I do very much like the idea of this feature particularly because I'd like to see what my MIDI drums are doing visually in their respective audio tracks (which I think are called 'instrument' tracks for some reason that confuses me). The only way I can see the waves of those tracks currently is to bounce or freeze them. It makes sense because they are not static (new performance being generate by the synth each time) but still. It's weird having drums playing without a waveform.
So installed Sonar and Sound Forge wasn't in the tools menu. So I followed the instructions and it worked. I can now highlight a Bass track and it opened in Sound Forge, I tried a simple normalization for a test and saved and returned to Sonar which prompts you to re load the saved file, done, took no time at all.
I'm stoked, guess I'll be buying SF. Isotope if it runs a stand alone version could also be added to tools I would imagine. But I believe you just access it like any other plug in inside Sonar or your Wave editor. Sonar and Sound Forge are sharing all their plug ins right now.I wonder how many will still work after the demo expires. I originally had Wave Lab 5 but Only Wave Lab 7 will run on 64 bit systems so I bought Essentials for only $98. Even though I can't tool copy I use Wave Lab for the next steps after an export. Steinberg like Sonar has opted out of MP3 batch conversion so I use Gold Wave a free trial wave editor that though basic is real handy.
@Cactus Music: Just a couple of things. There are many wave editors available, some freeware. Wavelab 6.1 will run in W7 64 bit.
I also looked at a more upto date version. But, I personally find Soundforge better. FWIW and OT its still possible to download Audition 3. Izotope is a VST, not stand alone.
Its pre-sets used as a starting point for mastering are great, especially for novices like me. Depending what you want to do, not underestimate the power of Goldwave - i bought a one off life licence (now THATs value for money) many moons ago and still use it on a regular basis. Its tools are actually very powerful plus it will have eventual VST support.
The 64bit beta version is so far showing to be excellent although not yet a full working model. Cheers, Jerry. For leveling the CW CA2A is great. I wouldn't use the CL for that. Its mainly a brick-wall limiter. I put the CL on the master buss to prevent overs.
I do not push it hard. With my sub buses I try to keep them from clipping with the faders set.
I know that Sonar wont clip but I just think its better overall. I do not ever let my master buss clip. I use automation in conjunction with my Mackie control. If I do automation it will be levels using the faders. One nice use is for instrument solos bringing them up and them putting them back.
But I have been known to ride a fader now and then. Cactus Music So installed Sonar and Sound Forge wasn't in the tools menu.
So I followed the instructions and it worked. I can now highlight a Bass track and it opened in Sound Forge. I did the same, and SF appears - and opens from - the X3 utilities menu, but it doesn't contain the wave file corresponding to the audio clip I'd had selected.
It's just empty. Double clicking the X3 clip doesn't work either. I'd have to do a manual open in SF, which means I'd need to know the path to the file.
(Understood I can find that within Sonar.) Are you saying it automatically opened the selected clip? (My SF is the 32bit 'studio' version that came with Sony's video package.) Thx, -Ron.
I did the same, and SF appears - and opens from - the X3 utilities menu, but it doesn't contain the wave file corresponding to the audio clip I'd had selected. It's just empty. Double clicking the X3 clip doesn't work either. I'd have to do a manual open in SF, which means I'd need to know the path to the file. (Understood I can find that within Sonar.) Are you saying it automatically opened the selected clip?
(My SF is the 32bit 'studio' version that came with Sony's video package.) 32bit editors work fine. The editor opening without the wave is a symptom of an incorrect 'Type' value in the registry. Type should be set to WaveEditor not 'Wave Editor' or any other value. Yes it is super picky but if you follow the instruction verbatim it works. I had to go back the first time, There was quotation marks from me copying the properties of the Sound Forge shortcut to get the full pathway. And guess what, I became so good at this I got Wave lab to work too!
So I'm really stoked. Bad news is Sound Forge Pro which has a bunch of izotope plug ins, is $400, But the good news is the Studio version is only $60. It's the plug ins you pay for.
Both versions are the same otherwise minus no multi tracking in studio. So Beepster If you want those izotope plug ins it might be worth while picking up SF 11 Pro. Try the demo. Sell by date at 9000 posts. @48/24 & 128 buffers latency is 367 with offset of 38. Sonar Platinum(64 bit),Win 8.1(64 bit),Saffire Pro 40(Firewire),Mix Control = 3.4,Firewire=VIA,Dell Studio XPS 8100(Intel Core i7 CPU 2.93 Ghz/16 Gb),4 x Seagate ST31500341AS (mirrored),GeForce GTX 460,Yamaha DGX-505 keyboard,Roland A-300PRO,Roland SPD-30 V2,FD-8,Triggera Krigg,Shure SM7B,Yamaha HS5.Maschine Studio+Komplete 9 Ultimate+Kontrol Z1.Addictive Keys,Izotope Nectar elements,Overloud Bundle,Geist.Acronis True Image 2014. Sell by date at 9000 posts.
@48/24 & 128 buffers latency is 367 with offset of 38. Sonar Platinum(64 bit),Win 8.1(64 bit),Saffire Pro 40(Firewire),Mix Control = 3.4,Firewire=VIA,Dell Studio XPS 8100(Intel Core i7 CPU 2.93 Ghz/16 Gb),4 x Seagate ST31500341AS (mirrored),GeForce GTX 460,Yamaha DGX-505 keyboard,Roland A-300PRO,Roland SPD-30 V2,FD-8,Triggera Krigg,Shure SM7B,Yamaha HS5.Maschine Studio+Komplete 9 Ultimate+Kontrol Z1.Addictive Keys,Izotope Nectar elements,Overloud Bundle,Geist.Acronis True Image 2014. Audition was completely rebuilt with version 4 (iirc. Came with CS5.5).
MIDI was dropped, but the audio engine was redone. If you search for 'OEM' copies, these are legitimate copies purchased in bulk by computer manufacturers and many are still available. Do not get the CC version, as the price structure went to pay by month. CS6 was the last version you buy and own outright, and the OEM version of the suite itself is a great deal. But can also by the programs separately. If you want Audition, I would recommend looking into this route. I have Audition loaded into my X3 utilities menu and destructively remove noise with it often (is actually very quick).
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