IMPORTANT FEATURES REQUEST For Wavelab 10

I m new to wavelab, but a steinberg user (Dorico and Cubase).
For me to very interesting features would be:
a) four point editing
b) deep crossfade editor
I know they are offen requested in classical editing, but in mac world there is (almost) nothing and this could fulfill the market lack :slight_smile:
Alessandro.

The multitrack facilities in Acon’s Acoustica barely hint at what can be done in WaveLab (and like WaveLab are limited to eight channels). I have also found it extremely unreliable, losing contact with my audio devices with no apparent prompting.

:confused: What is a ‘deep crossfade editor’? Please clarify.

From the context, I think this is probably referring to the fade/crossfade detail that SADiE and the old Sonic had. This was thought to be an important tool in, for example, classical music projects (along with ‘destination cut/paste’).

Personally, I haven’t ever found the fade functions in WL limiting and the most useful functions are pretty much incorporated in WL now anyway (I stand to be corrected on this by current users of those other apps which I am not).

I don’t like to make comparisons because every software has his strenghts and weekness, but i m thinking to the detailed editing features in crossfade that i can do, for example, in Sadie or Sequoia.

On the other hand i know that these features are usefull only, perhaps, for classical editing.
But actual intergration between cubase and wavelab and future integration between dorico and cubase are for me a very important plus.

Alessandro.

Been using the product for two weeks and have never had any problem with reliability or losing contact with my RME card. Might be system related. I am using an RME card and Windows 7 pro what are you using?

I think I understand what you mean, but like Paul above I’m not a user of that software so can’t really comment on how wavelab compares.

One thing I think is helpful in Wavelab is the ability to be able to zoom to the fade curve by clicking on ‘zoom to fade range’ in the fade ribbon. This along with the other functions in the fade ribbon and envelope points gives some pretty sophisticated control of the fade curves which you can see in fine detail.

One thing I think is helpful in Wavelab is the ability to be able to zoom to the fade curve by clicking on ‘zoom to fade range’ in the fade ribbon. This along with the other functions in the fade ribbon and envelope points gives some pretty sophisticated control of the fade curves which you can see in fine detail.

And worth mentioning: the Wave Matching Tool Window, which I think is pretty unique to WaveLab to create phased-sync xfades.

PG, I’ve always admired this capability in Wavelab and could see it’s possible use in a “crossfade editor” context, but I’ve never really found it useful in most current day needs until it can automaticallY sync across 2 tracks as well. I think that’s what FreeW is asking for (automatic sync) and it’s already there, but not totally useful the way it currently works to sync match clips for editing on one track only. Especially from a visual standpoint it needs to work across 2 (and more) tracks to automatically time align multiple versions across multiple tracks. If the automatic match search range could be made somewhat longer, and it could accurately time align all multiple takes across multiple tracks, I think that’s what FreeW is asking for, and would certainly be useful for me.

It’s not just classical. It’s how I learned to put together pop albums in Sonic HD (precursor to Soundblade). 3 and 4 point source-destination editing with a comprehensive crossfade editor. Both features currently in Sadie, Sequoia, Pyramix, and Soundblade only, afaik (maybe Sonoma too, I’m not sure). Also afaik, both features were a necessity in a pro mastering app to be considered for use in (most) of the biggest mastering houses for many years.

I’ve gotten used to the editing in Wavelab and don’t really miss it that much, but I think it’s still important to many people.

+1

Please, assignable output of montage tracks. Lacking of this “option” makes WL unusable in a full studio.

DB

What do you need that the present output channel assignment for montage tracks doesn’t provide?

Paul

Actually you can’t have a montage track sent to multiple otputs nor to different destination than main out without using a fake 5.1 montage, useless if you are working to a stereo project. This feature is ABC for studio DAW.

Hi!

Please explain with a real word scenario

Montage Track(s) out to… ?

Many Mastering guys/girls is doing ABC outside in mixer or at least inside mixer in DAW
out to speaker or analog stuff, tape recorder e.t.c

thanks

regards S-EH

I’d love to send a montage track to both of my D/A converters so I can choose the best option on my mastering console to feed my analog chain. Bonus points if another version can be sent to my monitor controller pre-FX including clip FX so I can A/B the original sound to what I’m currently doing.

Then I’d love to be able to record back on to a new montage track that has the option to seamlessly toggle (no glitch or disruption) between multiple stereo inputs so I can choose which A/D converter is best for the material.

Then I’d love to deactivate the original track(s) after the capture from analog so this track and its clip FX are not taxing my CPU anymore, but I don’t want to delete the track incase I need to rework anything. Just deactivate.

My currency play/capture DAW can do all this easily but I would consider doing all the work in WaveLab if these types of things were added, and I know many others would use WaveLab if this was added because unlike myself and a few others, most people want to work in one DAW.

Hi!

Please explain with a real word scenario

Montage Track(s) out to… ?

In a real studio we use multiple DACs, multiple ADCs and also multiple analog chains for comparison.
All the AB stuff is managed on the hardware monitor controller that has multiple inputs. In my particular setup i often do some ABC comparisons.
Say track 1 goes to processing and should not pass through master section, then i have a split to monitor A.
Track 2 is in monitor input, catching the analog chain return, and has to go to another DAC (maybe using master section) then to monitor B.
Track 3 has a reference song on it and should go to a third DAC hooked on monitor C.
During playback i can switch between dry, wet and reference in real time.

Another case: Track 1 is the source, i want to send it to different DACs at once and do an AB of DACs without connecting any AD to bring signal back in the daw. I should have the opportunity to assign 2 outputs on track 1 or, the slow version, copy track 1 on 2 and assign it to a different output. I can go on for hours. This basic feature is found on ANY mastering daw, say Soundblade, Sequoia, Pyramix, Sadie etc.

DB

During playback i can switch between dry, wet and reference in real time.

What is the difference between “dry” and “reference” in your explanation? Different DAC?

Dry is unprocessed source track we are working on sent direct to a DAC,
Wet is source track processed with a chain, if analog recaptured, limited etc. (real time input monitoring!)
Reference may be another finished song of the album or from another artist we use to keep the general picture under control.
Reference tracks need to be played, without other processing, simultaneously often with some degree of attenuation. Playing references simultaneously on another lane means using a switch in real time without the need of skipping to another location of the timeline nor adding any black between selections. Reference may also be an alternate analog/hybrid setup ready for an AB comparison without the need of capturing it back. Key is having an I/O matrix on the software for most of the basic tasks in real word hybrid or analog use. Most of the guys out there who are WL Pro users need to use say Reaper, Pro Tools, to solve this major limitation confining Wavelab to a mere assembly/authoring/export software.

edit: someone tried to use the 5.1 matrix to solve this big bug but that means working in a non standard stereo montage and troubles with surround instances of plugins, impossible inserts etc. The easiest way is actually to use another software capable of routing.