For those who have compatibility problems, I give you simple and beautiful solutions through this blog
Cubase x64 does not Rewire with Reason 5: you have to install a Rewire Bridge.
This is an updated link of a Freeware software (if I'm not wrong), but you don't have to buy it. Link: https://www.xtsware.com/?page_id=6
Cubase x64 is not compatible with Waves: you have to install a 32bit to 64bit converter. Use jbridge, link: https://jstuff.wordpress.com/jbridge/
It will be useful to more than one of you
That's all,
Merry Christmas!
Atte, Wladimir Rojo
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Have you ever wonder why my mixing sounds way different to music is sounding nowadays?
Sometimes I have asked myself why my mix sounds so different compared to the music that is playing today, what's wrong with it, sometimes I put a limiter before the final limiter to "try" to reach the level of the competition and I achieve it, but with a horrible noise and no love, how will the mastering engineers do it to reach that level?
It turns out that all these kinds of thoughts are absurd because the context where we are living "demands" you to reach a standard, but what really happens is that we are immersed in a swampy place called: Loudness War.
What is the Loudness War?
We have already talked about it in class with my students about it, but a guy named Jorge wrote a very complete and well-done article with good examples about the Loudness War.
Link: https://blog.7notasestudio.com/guerra-del-volumen-y-el-mastering/
(sadly the link is broken nowadays, it was so good)
The funniest thing of all is that thanks to our Bob Katz it has been possible to make standardized analyses about Loudness Control and Meter types (Read the book The Art of Mastering for more detail) and that led to someone making a website with a database of the noise war.
Link: https://dr.loudness-war.info/
So, let's get to work with your Mix!
If you need to be able to measure your work I recommend that you always use real Meters, like for example the VST TT DR (TT Dynamic Range Meter), where you can measure Peaks, RMS, Phase and also have the wonderful button that converts your Stereo mix to Mono. So you can control your M/S compatibility faster.
Now there is enough information to make Loudness comparisons in your mixes, it is very entertaining to know where to go and where not to go. Just in case I have more information about mastering and I can give it to you without problems (probably I will make a video about it, so is easier to give it to you), but for some reason I feel more comfortable when you ask for something specific and I guide you to get to the result instead of delivering everything I have at once, because with a lot of information happens that the Buffet Effect (when there are so many options that you don't know what to eat) appears.
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I just wanted to post something related to Direct Box because it plays a very important role nowadays in Music Production, for those who do not know its use and importance and for those who forgot
It would be almost a copy/paste but I hope someone will find it useful.
Just check out this document called: "DI Basics - Radial Engineering.pdf"
Also, for the curious, you can make a direct box or reamp box yourself.
https://www.diyrecordingequipment.com/You can choose the type of transformer, quantity, if you want it assembled, if you want to assemble it yourself, etc. Every item they sell is of very high quality and they have a lot of information that will help you to expand your knowledge of electronics or at least your theory/practice.
They also have a lot of preamps and COLORS. ;)
I hope you are interested in the info.
Atte, Wladimir Rojo
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Have you heard of Black Midi?
It is a type of music created to use as many notes as possible through a piano roll (midi), exclusively, since I personally believe that it is impossible to play it on a real piano. However this idea is based on the same idea that had a composer named Conlon Nancarrow (1969 or maybe before), where he made music for pianola experimenting with notes and/or figures almost impossible to understand, for example instead of a simple " 4:4 ", he elaborated things like " 2 : √2 " or more extreme things like " 1/3√π : 3√π/0,8125 " (Studio 40). Really crazy!
Conlon's initial idea was for it to be played on a pianola reading one of the first midis in history, on perforated paper.
Now that we spoke this subject, what is the real use of this information in Music Production?
Well, I will show you a video where you can imagine all the possibilities of today's technology:
Imagine how many possibilities, since the day I saw that video I realized that the VSTi drum machines of the future will be real drum machines activated by midi. Period!
Now, I invite you to think about it, making a real midi drum set is not a crazy idea, with "medium" level knowledge of electronics and "medium" level knowledge of programming it can be done.
If you want to know more about Black Midi or Conlon Nancarrow I recommend a youtube channel of a composer (he studied at Berklee) called Adam Neely. It has a lot of information about Music Theory. The only problem: it's only in English available, and for people who only speaks spanish, I wanted to say that I tried a couple of videos with the autimatic translator and gladly works something like 70% right, so it's still possible to check it out.
Cheers!
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