In previous versions however, when switching a lot between various audio setups, this could result in multiple intermediate resampled audio files like "SomeName-resampled48000-resampled44100-resampled48000.wav" etc. This is more CPU and RAM efficient than resampling the audio file in realtime. When playing back an audio file with a different samplerate, MuLab creates a resampled version of that audio file. Improved Support For Streaming Audio Files With Different Samplerate You can also still use start markers, just like in MuLab 6, so to manage a common start point for multiple audio parts.Īudio parts now also feature a snap marker for easily moving/copying an audio part with a specific audio cue point.įor example if you have a vocal audio part that starts with the word "Spring" you can put a snap marker on the "P" so to perfectly align it to the beat. In MuLab 7, when splitting an audio part, no new marker is created, but a part specific start point is used. When doing many splits this could end up in many markers, which was not very comfortable. So when splitting an audio part, a new marker was added. In previous versions audio parts always used a marker as start position. While the modular flexibility still is there in case you want it. Now MuLab 7 also supports easy traditional audio track recording: Add an audio track, arm, record, done. If you like the sound of MuLab, it's worth trying the free version, but most musos would be better off with a more professional DAW, like the cheaper and far slicker Reaper.In previous versions, audio recording relied on the modular Audio Recorder module.Īlthough this allows for very flexible recording setups, for users that are used to traditional audio track recording, this modular approach could be daunting. We can absolutely appreciate that MuLab has its fans, thanks to its unorthodox approach and modular architecture, but for music production, it's hard to recommend over more rounded and capable rivals. The improvements for v5 indicate that things are moving in this direction, so hopefully this will continue. The software is not "broken" in a fundamental way, but a rethink of some facets of the interface and the implementation of standard DAW paradigms where appropriate (eg, record arming) is needed to bring it into line with modern expectations. On the plus side, MuLab seems stable, and there are neat touches like the adjustable pre/ post fader point. Even when you do, the interface feels idiosyncratic and long-winded alongside other DAWs, lacking much of the functionality we've come to expect. From the garish, chunky interface to the reliance on menus, it's an effort to get to grips with. ![]() ![]() Our overriding impression of MuLab 5 is that it feels like a product of another, simpler era. And there's no plugin delay compensation, which is forgiveable given the price, but without a simple track delay offset, you can't easily apply manual correction. Setting up to record audio is fiddly, involving a settings page rather than the one-click 'arm track' approach of other DAWs. "Our overriding impression of MuLab 5 is that it feels like a product of another, simpler era" You can't type in values for things like fader levels either. The default key assignments are lacking - for instance, you can't transpose MIDI via the usual method of selecting notes and using the up/ down cursor keys, and to access typical MIDI functions, you have to use the right-click menu's submenus (which have to be re-opened with a click each and every time).
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |