Jeff Evans
In response to Craig's points...
Crossfade works fine in Studio One.
I know that. I said AFAIK it isn't
repeatable (at least not in V2, to which I qualified my comments) and you can't snap to a standard point of departure (like equal power, so you don't have a volume “hole” between clips).
FYI not all crossfades are transitions between songs. I've shortened many an overindulgent guitar solo
during the mastering process by crossfading (like the angle splices I used to do on tape). Equal power is what I want most of the time. When crossfading between songs, yes, it's often necessary to customize the curve, but that's another reason for using a track view environment because of its automation flexibility.
If you work in 64 bit and a higher res up sampling is not necessary anyway. Why not just create a mastering session in 96K and be done with it.
Because I wasn't talking about the sample rate of the mastering session. I said "SONAR offers upsampled rendering so
when you create your stereo mix for mastering..." Many projects remain created in 44.1 and delivered as 44.1; it makes more sense to upsample render one or two tracks (or whatever) than sample-rate convert
all your audio to a new sample rate. (Remember, I said this was about mixing. Of course if your recording projects were started at 96 kHz, then your mastering session would be in 96 kHz.)
Studio One has full clip by clip or event processing. Always has. (well V2 anyway)
You're
mostly right - it does now, but it hasn't always (it was added in V2). And in the SOP V2 documentation, it says you can add effects to tracks or the master output, and it also says that ALL functions related to audio parts are accessed through the right-click context menu. Since the documentation I saw implied that per-clip effects weren't possible, and drag and drop on to a clip didn't work (a la Ableton Live), I never looked any further for it (but in case anyone else wonders, it's in the Inspector). Also note I said "I don't
think SOP offers per-clip..." because I stopped using the Song page after V1, and use SOP only for the Project page (I still do). However, I do appreciate that you contributed a piece of information that was partially right, because it led me to do the research that revealed if I ever use the Song page again, I'll be able to do clip effects.
You dont need a playlist to hear transitions betwen songs. Just hit play instead and listen
I don't think you understand how playlists work. I wrote: "The playlist feature makes it fairly simple to test out song transitions
before the songs have been rendered." I don't think Studio One can cue up multiple Songs (not rendered clips in the Project window) and play them
sequentially so you can dip into one of those songs and make an adjustment to a track or whatever
prior to rendering. (And yes, I know that you can bounce back and forth between
individual songs on the Song and Project pages...that's not what I'm talking about.)
Tracks or clips (events) can be pitched up or down and sped up and down very quickly and easily. Those settings are in the inspector box.
I wrote: "With SOP, you have to go back and forth between the time-stretching and pitch-stretching parameters until you get it right." Those are the same parameters you describe in the Inspector box, but they do not provide "true tape-style varispeed on a per-clip basis where you can speed up tempo
and pitch simultaneously, without any artifacts." That is why you have to go back and forth between them…preferably with a calculator handy so the pitch and speed correlate.
I would not be doing that in mastering anyway. It is a compromise no matter how you look at it.
It's okay that you prefer not to do it in mastering, but hundreds, if not thousands, of engineers had no problem bumping up the tape speed by a percent or two, or even a whole lot more (listen to Gary Glitter's "Rock and Roll Part 2" - the tape speed shift is huge). Nor is a sonic compromise involved (beyond a timbre shift, which is what you’re trying to accomplish anyway)
if no stretching algorithms are employed. Granted I may just be nostalgic for the sound of Ampex ATR tape varispeed, but if you ever doubt how common it was, ask guitar players why they have to tune their guitars slightly sharp when trying to learn a hit from the 60s or 70s
I believe mastering is the last step in the creative process and no option should be off the table if it can enhance the artist’s vision.
I don't want to get into an argument, a question was asked about how to emulate SOP's mastering page in SONAR and I provided an answer as to why using the Track View was more flexible in some ways than SOP's mastering page and less flexible in others. You then changed the subject to Studio One, because that's what you know; as you said in May, you're a "full-time Studio One user," and have been promoting Studio One in these forums since at least 2013 (which makes me wonder why you hang out in a forum dedicated to SONAR users, other than to promote Studio One). But it's all moot anyway, because he wants to be able to do CD Text in SONAR, which it can't do. So he's going to have to find another solution anyway, and fortuitously, I had already mentioned CD Architect and SOP for doing the final prep work, and they both do CD Text.