Hi all -- There have been many posts throughout online communities about trying to find an alternative to rewire now that it is no longer supported.

I would love to start a thread here for users to share what they would like to see if one were to be developed

Here is a jumping off point:

1. start / stop / transport control from both DAWs (i use cubase - call this DAW1 - and ableton - DAW2 - in rewire) - start in DAW 1, DAW2 starts... hit start in DAW2 and DAW1 follows that - bidirectional transport communication.
2. playhead sync - move the playhead in DAW1 and it moves to the same location (or at least plays from the same location in DAW2) - and goes the other way as well -- click in bar 9 of DAW2 (ableton) and the playhead in Cubase (DAW1) locates to that exact bar -- i also use VideoSync in tandem with this, so it will move the picture to the right timecode that corresponds with the timecode associated with the bar numbers in both DAWs (i know Ableton doesn't support timecode unless you're using a Max4live device like LiveMTC - but trying not to over complicate it further.) So if Cubase is the master, it is able to link with VideoSync timecode via MTC
3. have audio routing between DAWs - currently in rewire, i don't think you can send audio from Cubase to Ableton, just the one way... so in an ideal world, a new VST would allow sending audio bidirectionally. (this is a probably a lower priority as there are other apps that check this box, but it would be nice if it were an 'all in one' solution.)
4. Rewire doesn't allow VSTs to run on the slave (or at least not in LIVE with my setup... so ideally a new program or rewire alt would allow the use of VSTs in all synched DAWs
5. Link supports some features but not all... using MTC/MMC over an IAC driver doesn't work when you hit a tempo change...
6. If there are meter changes in DAW1 (cubase), those Meter changes are not reflected in DAW2 (Live), the bar numbers jump around which can be a challenge when writing music for film/tv. Would be nice if the metering were to adapt as well -- this may be the MOST challenging aspect of this whole endeavor though, so i'm not holding out hope for this one.

What else would you like to see from a program / VST that would serve this purpose?

Hey! Thanks for welcoming me

I'm trying to find cause for this speaker, that hasn't had much use, to give me rattling basses.

I realized this could have caused the problem: https://postimg.cc/0zt9KBmL

This is the model: https://jblpro.com/en/products/control-1-pro

And this is the amp I'm using: https://www.amazon.com/dp/B071XQGYRJ/ref=pe_386300_440135490_TE_simp_item_image

I don't see anything physically wrong with them, but when I make a test with Ableton's utility, right channel sounds cleared than the rattling bass on the left speaker.

Any help is greatly appreciated.

EDIT: It seems to be more of a voltage problem, as they are not overlapping and the left one/"failing one" also makes an interference sound when the volume knob of the amplifier is turned up or down.

EDIT 2: Hey, thanks again for your answers, I think I just turned them up too loud and both of the cones are breaking.

Bless you!

Hello sub! I'm strugglin to making mixes that are monocompatible. I had a bias. For me a song in mono shoulded sound almost the same as the stereo version..wich is true...but after listening some of my favourite song in mono i found myself trying to reach a result that even my favourite artists haven't reached. My questions are: 1)Is reaching monocompatibility important in your mixes? How do you do it? 2)When you listening other songs in mono do you find them unsatisfactory?

Thanks!

Example: i record my main melody and then my harmony. The harmony is following the rhythm directly. The studio is was in used a plug in that would match the harmony to the main melody and I'm hoping someone knows the name of it or one similar. Thanks!

Hi,

I recently scored a mixing job where they gave me this album/track as a reference. On billies vocals they apparantly use a Telefunken 251, although Finneas on the road mic is a Neumann TLM 103, which is the mic my artist used to record her vocals.

Now, I know that Finneas send of his tracks to Rob Kinelski to mix them and I'm guessing he has some secret sauce to throw over the vocal recordings to make 'em sound extra lo-fi/dark. The reason I think this is because in some tracks the vocals sounds way brighter/hifi then for example the 'Getting Older' track.

Does anyone know of any plugins / mixing techniques to achieve this kind of vocal sound? I guess alot of it starts with picking the right microphone for the right singer, etc... but clearly, a lot of stuff happened in post here too.

I tried a lot of stuff already. Eq'ing, De-essing, "Soothing", suble tape coloring, micorphone modeling etc... but with the first 3, I often find myself getting phasing issues or making the vocal sound more unnatural. Has anyone else had the same experience with using Soothe or Pro-Q on vocals btw? Even on higher quality or 'natural phase' settings these plugins tend to make the vocal sound way more unnatural.

Thanks in advance. Literally any help is welcome.

Starts around 35 seconds in.

https://youtu.be/q-GJLjQXuIA?si=3K_85lIOR0kiKNpB

Cant seem to figure this one out can someone help me out?

Hello everyone, I come from an indie rock background but a few years ago I got into more electronic production. Specifically, I fell in love with Mount Kimbie’s album Crooks and Lovers. I go in and out of production rabbit holes filling notebooks with workflows, tricks, etc. but I still am puzzled by how they were able to automate and modulate elements so meticulously and interestingly. I think I hope to start a discussion on more so the philosophy of making tracks such as these. Like how much time did they take modulating/intentionally changing elements as the song goes on/morphing sounds. Maybe I am hindered because I use an in the box approach and a midi controller and they spent time jamming using hardware? I understand if I wanted to I could spend hours and hours creating an evolving interesting arrangement, but maybe there are simpler approaches you all use in terms of arrangement with electronic tracks, morphing sounds, chopping and screwing, jamming an arrangement, etc.

Disclaimer: I am a bedroom producer (or living room producer rather haha). I do this expressly as a hobby. I am not telling you what to do, you do you. This is just the process I've arrived at that works for me after four years of music production.

I track and mix in-the-box. I use Reaper. I use a template with regions defined in the arrangement window. These regions are as follows (with number of bars in parens): Intro (4); Verse 1 (8); Verse 2 (8); Pre (4); Chorus 1 (8); Verse 3 (8); Pre (4); Chorus 2 (8); Bridge (8); Chorus 3 (8); Outro (4); Ending 1 (8); Ending 2 (8).

I have four tracks with VST synths labelled chords, melody, pad, and bass. These are set to record MIDI output with 1/4 note quantization, and touch-replace overdubbing. These sit on a buss called synthbuss

I have ten tracks of drums, including kick, snare, clap, lo-tom, hi-tom, closed hat, open hat, side stick, ride, and cymbal. There are about 30 different samples for each instrument. MegaBaby sequencer on each drum track, and I can set sequence length independently. These are also set to record MIDI output, no quantization required. I have the drums separated into four sub-busses, one for the kick, one for the snare and clap, one for the toms, and one for the metal. These have EQs on them. Then there's the main drumbuss, with a compressor, and this sits under the mixbuss. I've side-chained my kick to my bass.

The mixbuss is the only track with a send to the master. Everything sits on the mixbuss. On it I have a compressor and a soft-clipper. On the master buss I have nothing but a limiter and a loudness meter.

On my fxbuss I have three reverbs with impulse responses from a Lexicon, reverb generators and echo generators: room, hall, and church IRs. I have five delays each with four taps with decaying frequency response: 1/2 note, 1/4 note, 1/8 note, 1/16 note, 1/32 note. Other than that I have a flanger, phaser, chorus and distortion.

I have a separate buss for parallel compression. I have compressors and plugins for saturation, brightness, regular compression, and low-frequency compression. The low frequency compressor is actually a delay that is set to 20ms, I brought up the feedback until it began to self-resonate and then dialed it back a touch, and I high-passed it at 160hz. This little trick works really well btw.

I have sends from each instrument to each effect and compressor, over a hundred and fifty sends. I use the routing matrix so I can click and drag to replicate the sends. Each send is set to 0db, pre-fader, no MIDI.

This is typically how I get started:

I set the transport to loop. I double click a song region and that time is selected. I record-arm whichever synth track I'm going to play (typically chords first). I record with a two bar pre roll, I use my keystep controller to play the notes. Then I move on to the next region. I do this until all regions are complete, then I move on to the next synth (bass usually). Then I repeat the process for the melody and pad. Sometimes I will cheat and copy-paste certain sections.

I remove all built-in effects on my soft-synths. I check the mix in mono. If there are two clashing parts I will choose a different sound, or MIDI editor dive and bump a part to a different octave, eliminate the 3rd, use 5ths, 7ths, etc. I add EQ to the synths, further separating them.

I put the mix back in stereo. I add automation for the filters (and macros) on the soft-synths. Typically I will bring the filters up for the chorus and back down again. I add reverb, delay, effects, and compression. I check it again in mono.

Then I track the drums. Since I have a discrete sequencer for each instrument, I can set triggers for multiple samples. For example, I can set triggers for 7 different velocities of a kick, or different kicks altogether. I will bring in and cut out drum tracks for different regions. I can also set time signatures for each instrument. So, I could have the kick in 4/4 and the toms in 3/4 for instance. I can also set the velocity for each hit of course, and the swing. This keeps things somewhat interesting. I apply EQ and compression to taste.

Then I track vocals and instruments. I EQ that, apply effects and compression.

I add one-shots to a special track called sfx.

Finally I enable the clipper on the mixbuss, and add up to 2db of boost. Then enable the limiter on the master buss and bring the threshold down as low as -6db.

Then I bounce my song to 320kbit MP3 and 24bit FLAC.

I've been cranking out a song every two days (sometimes every day) or so using this method. They're not all bangers obviously but at least they're completed thoughts. I can tell the viability of any chord progression or melody easily. I flag certain songs that work well for fine-tuning or further development.

Well, what do you all think? Any tips? I KNOW there's room for improvement in my workflow. Is there anything I'm missing? Any glaring omissions in my process or template? Thank you! I look forward to your comments!

EDIT: I arrived at this template and workflow after years of noodling around and not getting things done. I have a folder with over 200 incomplete projects. I got sick of that and imposed certain limits on myself and forced myself to stick to it. It's been a learning process for me, I'm sure in another five years my process will look different but this is what works for me right now.

EDIT2: I don't bother to record stems because I'm finishing the tracks so quickly now, I just mix in place and kick it out. Maybe that's an oversight on my part. I know I might need the stems in the future if I want to re-mix, and I change computers, DAW or lose the license for a plugin. But I'm so busy creating songs that I don't do it.

Love this song and the way the voice is processed.
https://soundcloud.com/trenchtrax/03-leafar-legov-fade?in=herunan/sets/giegling

if anyone has any plugin suggestions or fx chains (ableton) that might be suggested to achieve that sort of sound, would love to hear :-)

It happens often throughout this track (particularly prominent at 1:53 : https://youtu.be/tGRS3nPBKJw?si=AZGmSLYVazT5KTKS&t=112 ), in tandem with the deepest bits in the bass part, therefore I'm assuming it's the result of the sub driving whatever the mix is printed through. Just wondering if anyone knows what behaves that way when pushed? I'd love to be able to replicate it!

https://youtu.be/h7JN_jjXm8A?si=CgSEck-otQdamuPH Play at 01:11

How is that polyphonic slide done in strings sections? I've seen that kind of slides in polyphonic synthesizers also! How to compose it simply?

I have made progress in music production and now I want to improve my home studio.

I currently have DT990 and Audient ID4. I especially did not like the headphones, high frequencies tire the ears etc. Can you recommend me an industry standard and useful headphone? Also, is my audio interface sufficient? Should I change it?

Title pretty much explains my problem... I'm using RX9 to do some cleanup for a project and I have the misfortune of having only the camera audio to work with. The DOP on cam is exhaling like he's about to die on the spot during important dialogue and I can't seem to find a way to cut him out using RX. He pretty much is as loud as the speaker and no amount of gating and/or Spectral Repair seems to do the trick...Anyone ever had this issue and if you managed to fix it, how'd you do it ?

in advance, since this covers both production and more engineering work, i'd figure it's best to ask here? correct me if i'm wrong

greetings all. i've reached the point where deleting some plugins would prob be useful to me (reduce analysis paralysis, etc.) however, i do worry about finding older projects missing plugins down the road. but on the other hand, wtf does one do? surely going through 100's of projects and noting what plugins were used at least once, and only removing the unused ones is not really feasible? and it's not really the goal

and yes, i know that ideally one has everything converted to audio and backed up this way, but we're talking about a lot of unfinished projects, random ideas, etc. etc.

so how do you approach this? remove most plugins, but keep the installers? or what? :D

Title. I'm working on a song in FL studio that would require a female singing voice, unfortunately, I am male and can not make those kind of vocals myself. I was wondering if there was any plugins that would make it so my voice sounds more feminine? Note that my voice much lighter, stuck with the curse of a prepubescent teen voice.

Hello!

I am a fulltime producer/songwriter. I have been doing it fulltime for about 3 years, and have done a few number 1 and a bunch of charting songs in the country I am from.

For info: I have sessions with artists about 4 days a week, and when I am not, I usually produce up and finish the songs I write. I do not have a management, publisher or label. So completely indepentent. I have not had a vacation where I have put everything aside since I went fulltime.

For the past few months I have been sooo drained of inspiration and motivation. Whenever I open my DAW I feel like I am gonna throw up, and the constant emails, messages, phone calls from managers and artists are driving me crazy. I feel like I can’t escape the thought of music and stuff I have or should do..

This is the dream that I have dreamt of for sooo many years, it feels like I am wasting an opportunity, does anyone have any tips on this?

Amateur producer here playing around with my Zoom H4N pro and my friends are starting a band. Today was the first time we recorded and I found myself wondering if the set up of our little garageband could be improved to get the best sound.

I also have access to some more sound equipment like some extra boom mics and cables. I would love to know how to get the best quality sound in this kinda situation.

What is the industry standard for recording drums let’s say? Or recording what comes out of two amps? What about vocals?

Any help would be so appreciated!!!

i want to know how to design a lead synth / pluck like this:

https://www.youtube.com/watch?v=Ot0kDKBdJHA

https://www.youtube.com/watch?v=SEHJPkzaW_E

I already tried to use Ableton drift with two detuned saw oscillators, no success sadly. any input would be greatly appreciated, I can't wrap my head around this.

When it comes to mixing and music, almost always more harmonic content sounds "better" in a similar way more volume sounds better. Distortion, the reverb between strikes, etc. And yet the pros often go for a cleaner sparser sound. But how do you know your "richness" is actually clutter? And how do you know your richness or distorted sound *isn't* clutter? When is it a desired "wall of sound" and when is it just noise? I find these ear questions to be the most difficult frontier of production, the real stuff that separates good from mid.

I’d like to know your experience when releasing music, how far do you go and where you pass the torch during the production process.

I think the mixing stage is as important as composition/production stage in electronic music. That’s where you really forge your sound, identity and energy, which is kind of the essential when it comes to electronic music IMO.

Do you ever get someone else to do the mix or are you reluctant do to so ?

Can you suggest the closest alternative to Bx Elysia Karacter?

I was told recently by someone that you should use an odd number of voices for supersynths because it helps with the phase correlation and mono summing. I just tested it myself with Serum and a phase correlation meter, and while I want to say there was a difference, the nature of the random fluctuations makes it really hard to say for sure.

I'm curious to throw this idea out to more people here and see if anyone else has heard of it and agrees. Do you do this?

I'd be using Vital or possibly Phase Plant. I imagine the waveshapes are quite simple and I've found enough info on that end.

What I'm most concerned about is emulating the tactility of the instruments. How to get close to the expression of volume, the vibrato, the slides and jumps?

For me personally, it doesn't need to get all the way there in real-time, I'm fine with recording some takes and then tweaking things afterwards to nail the tone and vibe.

Any suggestions welcome!

Hi audio experts, I'm in a tough situation right now: I have to invest in a pair of monitors for my studio. I mainly work on music and soundtrack producion/mixing and a bit of video mixing. I work in a treated room mainly, so I don't really need MTM calibration system.

I'm leaning towards the Barefoot because I feel three-way monitors would help me better for vocal mixing and editing, but I recognise MTMs have a lower extension on bass frequencies and I would prefer not to buy a subwoofer. Also I really appreciate Barefoot MEME Hi-Fi setting for reducing transients and minimising ear fatigue during long production sessions.

have you guys had the opportunity to listen to both and would like to share an opinion? I'm really torn between.

Scenario: I have some dirty acoustic drumgrooves (think old school jungle amen breaks), and sometimes for <reasons> I want to incorporate them into a relatively clinical-sounding genre (like minimal house).

Are there best practices to remove "dirt" from loops that have been recorded hot, have been saturated to hell and back, and of course I want to keep some of that original "attitude" - sometimes I do some surgical EQing, add a very short reverb, or make sure that there are no major frequency clashes, but the results are unsatisfactory.

I either end up with a washed out loop that has lost all of its transients or a loop that still has too much of that initial dirt.

I'm wondering if there are specific approaches to this I'm unaware of, or it's a fool's errand and I should be looking for cleaner loops in the first place.

so my uncle of is saving me a butt load of money and selling me a older nueman tlm 3. he said he's had it for about 10 years. never been abused or mis treated. only really used 20-50 times. my question is, would the age of mic effect the overall quality of the mic. HAS Nueman added anything into there mics over the years that the past ones dont have

I see all over that people stating pro tools is much better for vocals. I understand on paper it was built for vocals , but if you know what you’re doing does it really make a difference? Is there things pro tools has that fl doesn’t? Can u archive the same sound?

Hey guys, I would like to use my Kontrol keyboard M32 encoders to control the starting point of a sample inside of Kontakt 8. Similar to how Maschine does this with its own encoders. The configuring function for Ableton only lets me use the starting 8 macros in the Kontakt Play tab. How exactly do I do this? Is it even possible? Many thanks