Hi, simple question - is there any way to group instruments in Visual Mixer so that we could raise the volume of just the vocal tracks or just the strings? I know I can group in my DAW, and I guess that brings me to my next question: If I change the volume on my DAW buss (I use folders since I'm using Reaper), how does that work with the volume set in Visual Mixer? Thanks!

Thanks Joe - that's great information. I use Neutron 3 as well, and I used it to make the first basic mix before I went into visual mixer to fine tune on a track by tack basis. Neutron 3 has the tracks grouped logically (Focus/lead vox, backing vox, bass, percussion, "musical"/other instruments) and I could adjust the relative levels of groups. When I had it in the best state I could get it I hit "Accept". Then I went into the visual mixer and fine tuned it, assuming I'd have a way to go back and adjust the relative level of groups again afterward with Neutron. I'm obviously new to Neutron and Visual Mixer, lol. I couldn't find the way and it seems like such a waste because they already grouped my tracks in Neutron for mixing and now I can no longer access/control that. I could start the wizard over but then it would also overwrite all the adjustments I made in Visual Mixer and I'd be back where I started, having thrown out all my fine tuning work. It's kind of a silly loop of frustration. Fair enough. Major oversight in a suite of software that works so intelligently with each other, imo. But fair enough. So if I go the grouping in DAW route, I imagine I can make sense of the effects on volume of groups in DAW vs individual objects in Visual Mixer well enough. It is counter intuitive but I don't see it as a showstopper or anything. BUT if I want to send tracks to someone else remotely so they can import and co-produce with me, let's say.... how do I save the tracks WITH the adjustments Visual Mixer and even Neutron made to them? I realize this is a much more basic and general DAW question and is not only about Visual Mixer. But even if it were only about Visual Mixer, if I wanted to save the panning and volume settings to the actual audio or MIDI itself, is rendering each track going to do this for me? I apologize for my lack of knowledge of DAWs and software, but I do make up for my technical DAW ignorance with inspiration and ideas, lol. I just need to grow in how I manage them technically. Any help is appreciated. Thanks!

Thanks again. Great info. Last two pls (I think it's the last two): If I export stems, complete with all level, panning, and fx on the track will the audio files also retain the group in DAW volume adjustments I made or only the ones made through the Visual Mixer? And if I import them back into my DAW and turn on visual mixer will it reflect the level/panning settings or will it visually show the tracks all in the centre while retaining the panning and levels in the audio? To be clearer, I'm asking if the retained fx are only retained in audio qualities or if I can also visually see them again in visual mixer when I import them I to a new session? For that matter, if I imported them into a new project, would my DAW visually show the group in DAW levels that were set in the last project and only adding Visual Mixer would show the adjustments I made in Visual Mixer in the last project? Or would my DAW show the changes made in both group in DAW in the last project as well as the adjustments made in Visual Mixer? Or would Visual Mixer in the new project reflect both sets of levels in its view? How would the levels set by grouping in DAW display vs the levels set by Visual Mixer in the first project? You've given me a good amount of your time and answers. I promise to pay it forward and give my time and expertise (in other subjects, lol, or else on this subject in the future when I have expertise) to others. I appreciate the answers. Thanks again.

Thanks a ton Joe. I'm finally at a point where this all makes sense to me (I only mean all you've said) and that's a major accomplishment. I think I will use Visual Mixer for all levels and try to resist using group/folder volume adjustments in DAW altogether. But it's good to know that if I find a need to bring up a whole group the option is there for me. I'm learning so much at the outset of my journey and I guess I can only say I'm really happy this is all interesting to me. And I'm thankful for helpful guys like you along the way.

Hi guys, I have a project with 40+ vocal tracks that I need to clean. I record beside my window on a fairly busy street with constant cars passing by. There isn't any honking to be concerned with but there is the constant whoosh of cars and trucks passing by. I also have room noise, lip smacking, and all the regular stuff audio can suffer from in addition to my particular car whoosh issue. I know the solution would be to find a better place to record but that's not an option, and I would still have the following question in any case since I'd still need to remove room noise, lip smacking, breaths, etc.. So I need to clean just about every track I ever record on any project I ever engage in. To this end, I bought the standard version of RX8. I'm torn between two approaches and wonder if anyone can advise: Option 1: 1. Save my project under a new name to make sure I can go back to the audio I had previously easily enough if need be 2. Open one track of the newly saved project in standalone RX8 3. Test out all the modules and decide which I need to use on my audio based on what they do and how well they do it on my audio 4. Save this module chain as a preset. 5. Use batch editing offline to apply this preset to every audio file in my project 6. replace the original files with the edited ones (I'm assuming RX8 has an option to replace original files with cleaned ones) 7. Reopen my project with the new, cleaned audio Otion 2: 1. Save my project under a new name to make sure I can go back to the audio I had previously easily enough if need be 2. Put RX8 on one track in my newly saved project 3. Test out all the modules and decide which I need to use on my audio based on what they do and how well they do it on my audio 4. Copy this RX8 module to each track in my project 5. Render or Freeze all tracks to print the RX8 changes to audio It seems these both accomplish the same end, using approximately the same number of steps. My question is am I missing any details anywhere that would make one of these options more risky, more difficult, less flexible than the other?

Hi Joe, Is it possible to see this video? :) Thanks!

Joe, scrap my last question please. I am watching a preview and this is top shelf presentation and you're super clear, so you have my money. I have a different question. Super general again: Is it, in general, a bad idea to send dry backing vocals to a Low Pass or High Pass buss, just to get some more subtle separation between the doubled parts that will be panned left vs right, BEFORE EQing the vocals fully on a subsequent buss? I guess I could even boil it down to - is it a bad idea, in general, to apply all of Neutron's magic to a track AFTER it's been touched by a standalone instance of Neutron's EQ to either high pass or low pass? Is there any rule of "full treatment should come before HPF or LPF" or could it be done in either order? Thanks!

*I deleted the post I asked you to ignore. I don't want to take up more of your reading time than necessary. Basically I was asking questions about your course that your preview fully answered for me and I really dig your presentation style. I will be a customer when I'm done this preview vid!

Thanks a lot Joe. I just wanted to make sure I wasn't missing a reason why either approach might be worse than the other. I'll try it out and see how that goes.

Thanks Joe, my vagueness is only matched by your clarity, lol. So I am planning to send half of my dry backing vocals to a buss that has a high pass filter on it and nothing else, and the other half to a buss that has only a low pass filter on it and nothing else. I'm doing this to add more separation between the vocals which I'll eventually pan right and vocals which I'll pan left. I'm thinking, knowing as little as I do, that this will help the panned vocals take up their own space and sound distinct. I record every harmony vocal twice, as doubled parts. So let's say I just recorded a tenor harmony, I'll re-record a double of that exact part to pan one left and pan one right. Now I'm thinking if I put one through a high pass filter and the other through a low pass filter, that will help the separation I'm trying to achieve by panning them opposite. After that I'm planning to send them both to a buss that has full Neutron on it and use one of the presets for vocal harmonies and tinker with it a bit. So in this case the signal from the backing vocal goes to a high pass filter and it's opposite goes to a low pass filter and only after that do they both get processed by Neutron more fully. Is it a bad idea to put Neutron after a high pass filter or should I only ever put a high pass filter after Neutron? Newbie question, sorry. Btw, I watched the first ("intro") module of your course and I'm stoked to take in the whole course tonight with copious amounts of note taking (that's just how I learn best). I'm really excited about it, believe it or not, lol. I've been watching random YouTube vids to try to get a portion of what I'm sure you're going to logically explore in a much more balanced manner in your course.