CD Text and ISRC copy from one montage to another

after having entered all CD text, metadata, ISRC codes etc. into a montage i then have rendered that montage to apply final dithering to 16b.
however, the newly created montage does NOT retain the CD-Text info etc.
i would have to enter all the details again in the new montage.
is there a way to copy the CD-Text data and ISRC codes over from the previous montage to the newly created. they are identical in every way only the bit resolution has changed.


Did you check the option “Create CD Image and Cue Sheet” ?

no, i didn’t!
i just choose to render to a new montage from the existing montage while dithering to 16bit.
does that have a bearing on the copying the cd text and ISRC over when creating a new montage?

The Cue Sheet is used to import the Metadata, when reimporting the montage.

Right. Even though you don’t need the cue sheet, WaveLab uses it to transfer the CD-Text info from your source montage to the newly rendered montage. I do this many times daily.

I have the same problem when rendering - the new montage doesn’t have the metadata and CD text etc. I don’t have the option " Create CD Image and Cue Sheet" in the render options dropdown (WaveLab Pro 10.0.50). This option appears in your video " WaveLab Pro workflows" at 2.42.34 Justin P. I have the other 4 choices available in the Artifacts section. I found that saving the metadata as a preset in the original montage then selecting that preset in the new montage worked for some info, but I also have to go into the cd wizard in the new montage to select “use splice markers” and manually copy the cd text etc if I want to burn a CD. Sorry if that sound confusing - all I want to do is render a 96/64 montage to 44/16 and then burn a CD in the easiest possible way.
Thanks in advance!

In WaveLab 11, the option “Create Audio Montage From Result” carries over all metadata. The sole problem is that when there is also resampling, the resulting markers are misplaced. But this is fixed in the upcoming WaveLab 11.0.10.

That’s great - Thanks for your prompt reply! I only just found out today there was now WaveLab 11 so I’ll look at updating

Hmm. Can you post a screen shot of what you do see? This option has been there at least going back to version 9 I think and as PG mentioned, it’s even simpler in WL11 now.

You should never have to add markers again or redo any CD-Text/Metadata info. There are ways to make it all carry over to avoid any redo work.

Hi Justin. Here are screenshots of the original montage (96/64) render options and the resulting 44/16 montage (using the “CD Standard” option offered). The new montage has no metadata, no CD text and the markers window shows additional markers between each clip. Up until now I have manually corrected everything. If I render to 48/24 without creating a new montage, the metadata is all there (works fine on iPhone with Foobar 2000 for example). I used your “jp start” preset to generate the original metadata and just added an image.
Thanks for your assistance. (I constantly refer to your video - at this stage of my learning curve I’d be lost without it!)

P.S At this stage I can’t upgrade to WL11 - my iMac doesn’t support Catalina

I think you don’t see this option because you appear to be rendering “All Regions/CD Tracks” in your first picture, instead of rendering “Whole Montage” which is what I do first to lock in the processing. I don’t render “All Regions/CD Tracks” until later once all the processing is locked in.

With “Whole Montage” chosen, you’ll see an option to create a new montage from the resulting file, and choosing the Cue Sheet option will bring over the CD-Text and markers…something that is automatically done now in WL11.

In the videos I’ve done, everything is carefully and specifically done for good reasons, so I would try to copy exactly the steps I discuss in the video.

Thanks Justin. I went back through the video and rendered the “Whole Montage” to 96/64 using your “00 Initial Montage Render” preset. Everything was copied across. I then used that new montage to create a 44/16 montage (for CD burning) with “Whole Montage” chosen. Everything was copied across. Then I rendered 48/24 files (for media players) using “All Regions - CD tracks”. The metadata was copied to the resulting files. It looks like that works for me. Does that sound right to you?
Thanks once again for your help!

It’s hard to say for sure because some of the phrases being used are a bit vague or generic but here is my method again:

  1. Render the full montage in one pass using “Whole Montage”
  2. Use the setting that tells WaveLab to make a new montage from the resulting render, and the Cue Sheet Option (no longer needed in WL11) that tells WaveLab to recreate all the markers and data.

Now you automatically have a new montage with all the processing locked in and markers/data in place.

From here you could insert a 24-bit dither and render 2496 WAVs of each track.

Now, using RX, Saracon, or the WaveLab Batch Processor, downsample the 6496 full render file down to floating point 44.1k or 48k (whatever you need) and then use the Custom Montage Duplicate feature to recreate the resulting 96k montage at the same sample rate as the downsampled file.

Adjust the inserted dither plugin (which is running live) to 24-bit or 16 as needed for 2448, 2444, 1644, DDP, mp3 etc.

In your first screen shot, I noticed that a dither plugin was inserted but if you are (correctly) rendering to 6496 audio, a dither plugin shouldn’t be used.

Thanks Justin.

I understand and have followed points 1 & 2 and have a new 6496 montage with the processing locked in and markers/data in place. I didn’t use the dither plugin for this process. I then rendered 2496 WAVs of each track with dither inserted as you described. All good so far ( Later I’ll also do 2448 WAVs of each track).

I tried to follow the next step of downsampling and using the Custom Montage Duplicate but I need to work out how to use the Batch processor. I haven’t had use for it up to now. In the meantime I used the 6496 montage to render a 1644 montage (using dither and “Whole Montage”). The markers/ data etc were all copied across and the CD I burnt using WaveLab contained the CD text and played correctly. Is this method achieving the same result as downsampling and using the Custom Montage Duplicate feature as you described or does your method produce a better quality result? What are the advantages of using Custom Montage Duplicate? If I render to 1644 from my 6496 montage doesn’t downsampling and bit depth change happen automatically?

Sorry for all the questions but I’m learning a lot and your answers have saved me a lot of time (and anguish!) so far.


I can’t say for sure. My workflow was developed back when WaveLab used the Crystal Resampler which did not sound as good as others such as RX and Saracon. Since WaveLab 9 or 9.5, WaveLab now uses the SoX algorithm which is on par with RX and Saracon but since I’m a creature of habit, I still use RX for resampling. In part because of what @bob99 mentioned about lack of detailed settings that could be there.

That being said, I also like to make sure no other processing besides dithering is happening when I render my master WAVs because while your method could be OK for when there is silence between songs, it’s been a few years since I tested this method with EPs and album that have gapless/continuous audio such as live albums or albums with songs that crossfade etc.

Any time you render track by track with heavy plugin processing or even some SRC, it opens up room for some sample errors at the start/end of the resulting files which again might be OK if there is true silence between the songs but could produce a glitch at the track transitions if there is continuous audio. I like to find a workflow that works for all situations (gapless or not) so that’s why I do the Custom Montage Duplicate process.

Also, I really dislike the Global Master Section and since the Resampler is only available there and then requires a dither to be inserted after it, this means I have to manually load and save the Global Master Section settings for Resampler and Dither with each montage and with a busy mastering working, that’s too much messing around so that’s why I do it how I do it.

I need 100% of the settings to be safely stored in the .mon file, no exceptions. So that’s another reason why I use Custom Montage Duplicate, so I can just hide and ever use the Global Master Section other than for Clarity M plugin which is just always loaded when I open WaveLab.

That all makes sense given the work you do. Having watched your Workflows video a number of times, I can see how you have streamlined your work very efficiently. As I said earlier on I am on a steep learning curve and am trying to push my boundaries bit by bit. From what I understand, you are keeping downsampling and dithering as seperate processes.

I did try, as you suggested, to downsample the 6496 full render file using WaveLab Batch processor to 6444 (not sure what 44.1 floating point is or how you select it). This file played ok when I tested it. The Custom Montage Duplicate however “couldn’t find the matching file” after I selected the folder containing the 6444 file in “Folder with the New Audio Files” box. Does that make sense?

At this point in time I’m only using WaveLab to:
1. Create 1644 montages to burn CD’s and,
2. Create 2448 wav’s of each track to play on an iPhone using Foobar 2000 or a
Mac using VLC.
3. Create 6496 Wav’s of each track for High Res player.
I use these to play my albums in various ways: in the car, bluetooth speakers, high quality sound systems etc so as to learn, adjust and refine the sound I am creating. I also share these with various people to get feedback. Up until now I’ve had no issues with glitches with my methods (I don’t have continuous audio) but I’m keen to learn new ways of working such as you have suggested.

Also, I may have got this wrong, but I think you mentioned early in the video that you work at the highest sample rate you can. I originally set up a new 96k montage with the idea of trying to follow your workflow and settings as much as possible. I imported 2448 files I had bounced from Logic Pro 10 and Wavelab resampled these to 96k. I was wondering if all this resampling could cause other issues or degrade sound quality? Would it have been better to set up a 48k montage and import the files without resampling or is there a greater advantage in using Wavelab processing at 96k? I’m not using a lot of processing - mostly Master Rig: gentle compression, tiny eq boost, subtle imaging and limiter. Dither, if needed, on montage output. I tend to do any drastic changes in Logic and replace the files.

Thanks again.

I currently do the sample rate conversion outside of WaveLab but dithering is done inside WaveLab when the final files are rendered

That’s the advantage to keeping the initial full render floating point, as well as the downsampled version(s). Then I can just do one floating point downsample to 44.1k and render 2444 and 1644 WAVs, as well as DDP and mp3.

The custom montage duplicate option requires the file to have the exact same name as the source file, but if you look in the box that pops up, you can tell WaveLab to ignore certain characters in the old or new files. Otherwise, the files have to have the exact same name which is why I put them in their own folders.

Thanks for that info. Have been away from the studio but will try that in the next couple of days. I don’t have the ability to sample rate convert outside of WaveLab other than during bouncing of my original Logic tracks. RX and Saracon are beyond my budget at the moment so I’ll play around with WaveLab Batch Processor


SoX the sample rate conversion algos is really good and of high quality
that is a part of WaveLab builtin.

regards S-EH