L-Phase Multiband

Cakewalk Multiband Compressor

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Version 1.0.3
Table of contents

5 Cakewalk L-Phase Multiband overview

7 User interface
10 Display graph
12 Stereo Mode
13 Solo mode
16 Band controls
27 Settings
28 Expert controls
31 Using the L-Phase Multiband
41 FFT spectrum analyzer
42 Preset Manager
47 A/B compare settings
48 Automation
49 Useful compressor settings
55 LICENSE AGREEMENT

Table of contents 3
4 Table of contents
Cakewalk L-Phase Multiband overview

The L-Phase MB is a transparent linear phase multiband compressor plug-in for mixing and mastering purposes.
The L-Phase MB provides up to six bands of smooth, highly accurate, linear-phase compression and equalization
of audio, with each of the compressors operating on a single adjustable frequency band.
The L-Phase MB’s features include:
 Up to 6 color-coded bands.
 Selection-based band Attack, Release, Threshold, Ratio, and Gain controls.
 Optional Auto Release to minimize pumping (audible fluctuations of the volume).
 External sidechain support.
 Mono, stereo, and mid/side operation at sampling rates up to 192 kHz.
 64-bit double precision signal path.
 Numeric text entry.
 Configurable plot and meter scales.
 Solo mode.
 Integrated FFT spectrum analyzer.
 A/B controls to compare different settings.
 Preset manager.
 VST Automation.

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Cakewalk L-Phase Multiband overview
About linear phase processing
Linear-phase processing is critical in eliminating phase shifts that often produce undesirable audio artifacts in
traditional processors. Most typical limiters color the sound even if they are doing nothing, because the splitting/re-
combining of the bands is done with IIR (Infinite impulse response) filters with phase shift.
Phase shifting in typical compressors means that audio is shifted in time in a per-band, frequency-dependent way.
Alignment of low and high frequencies may change with respect to one another and to the original audio material.
The sound is literally “pulled apart” in time, often resulting in loss of sonic clarity and crispness.
Unlike typical limiters, the filters that split up the frequency bands in the L-Phase MB plug-in are of the Linear
Phase variety. Linear Phase filters allow you to split up the spectrum into bands and then sum them back together
while maintaining the integrity of all processed audio for all frequencies, at all times—with no unintended
coloration, phase errors, cancellations, comb filtering, or muddy transients. When a host application compensates
for the plug-in’s overall latency, the resulting linear-phase output is referred to as “zero phase”.
What can you do with the L-Phase Multiband?
The purpose of a compressor is to limit the dynamic range of music or sound. Compression will make the loud
parts of the signal quieter, resulting in a more or less even level. A multiband compressor consists of crossover
filters that split the incoming audio signal into two or more frequency bands and a separate compressor for each
band. The L-Phase MB utilizes up to six adjustable crossover filters that separate all incoming audio material into
separate bands. One of the main challenges in using a multiband compressor is being able to isolate the specific
frequencies that require editing, then processing them with the compressor. As with all dynamic processing, it
requires a lot time and experience to get the best results, but when used correctly, it is often what separates a
great mix from a “good” one.
For audio signals that contain complex material such as a complete music mix, a multiband compressor can yield
a number of advantages over a traditional (“single band”) compressor. Some of these advantages are:
 “Pumping” is virtually eliminated. “Pumping” is a phenomenon that is noticed when music with a heavy bass
beat is run through a standard compressor; the mids and highs seem to vary in amplitude or “pump” to the beat.
Multiband compressors don't pump because the bass frequencies are processed in a different compressor from
that used to process the mid- and high range frequencies. A loud event in one frequency band won't trigger
gain reduction in the other bands.
 The signal is equalized as it is compressed, so that differences in equalization between different sources are
less noticeable.
 Multiband compressors suppress or enhance the dynamic properties of specific frequency ranges. Based on
this, they can also be used for tasks like de-essing, removing pops, as well as adjusting vocal and/or instrument
punch and breath (attack and release curves) within a mix.
 Different parts of the frequency spectrum require different compression settings in order to effectively reduce
the dynamic range. The Attack time is especially important. A multiband compressor lets you tailor the
compression to the different elements in a mix and compress the recording more transparently than with a full-
band compressor.

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Cakewalk L-Phase Multiband overview
User interface

A B C D E F G H I

L W

M X

N
Y

O P Q R S T U

A. Settings B. Sidechain audition C. Bypass (enable/disable L-Phase MB) D. Presets E. A/B comparison F. Delete selected
band(s) G. Solo mode H. Select next/previous band I. Selected band’s channel assignment J. Gain scale range K. Gain
scale L. Gain reduction meter M. FFT spectrum analyzer N. Show/hide Expert controls O. Band enable/disable
P. Attack Q. Release R. Threshold S. Ratio T. Gain U. Frequency scale V. Output meter W. Selected filter band (white
outline) X. Max gain reduction range Y. Meter range

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Knob operation
All knobs are operated with vertical mouse movement. Hold down the left mouse button and drag up/down.

A B

A. Click and drag vertically to adjust; double-click to reset B. Parameter value; click to edit

Under normal operation (no keyboard interaction) the knob will turn relatively fast and the parameter increase/
decrease will be relatively large (but fine enough for most purposes).
To adjust knobs with finer resolution, hold down the SHIFT key while adjusting a knob.
Double-click to reset the knob.
You can also use a mouse wheel and keyboard shortcuts to adjust the selected knob.
The parameter value is displayed numerically adjacent to the knob and can be edited by clicking.
Button operation
Buttons function either as toggles or mutually exclusive radio buttons. The button face lights up when enabled.
For toggles, click once to enable (the button is lit), and click again to disable.
For radio buttons, one button in the group is always active. Click the button you want to activate.

A B

A. Button enabled B. Button disabled

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Keyboard shortcuts
You can use the following keyboard shortcuts to adjust the selected knob or button:

Key Change

RIGHT ARROW Move selection to the next filter band.

LEFT ARROW Move selection to the previous filter band.

DELETE Remove the selected filter band.

ALT Constrain a band to vertical or horizontal movement, depending on the direction you
first drag.

SHIFT Adjust parameters with finer precision.

Help
Press F1 to launch help.
Bypass
The global Bypass button lets you bypass the entire plug-in. When bypassed, the input signal is not processed.

 Off . Bypass is disabled, incoming audio signals are processed.

 On . Bypass is enabled, all incoming audio signals are passed through unchanged.

Note: To enable/disable individual filter bands, use the band controls located below the display graph. For
details, see “To enable/disable a filter band” on page 33.

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Display graph
Figure 1. Interactive multiband display graph.
A

E F G H

A. Crossover frequency B. Gain (dB) range C. Gain scale D. Color-coded filter bands E. Band frequency bandwidth F. FFT
spectrum analyzer G. Center frequency point H. Frequency scale

The interactive display graph occupies the majority of the user interface. The graph is a visual representation of
the current filter band settings and their potential dynamic range.
The (horizontal) X-axis represents frequency, with higher frequency toward the right. The frequency scale is
logarithmic, so lower frequencies will allow for more accurate settings than high ones. Each vertical line in the
graph represents one octave (a doubling in frequency).
The (vertical) Y-axis represents relative amplitude levels in dB, with higher signal levels toward the top. The dB
range can be set to ± 6 dB, ± 12 dB, or ± 30 dB.

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 A

A. Click to select the scale

The display graph also has an integrated FFT spectrum analyzer, which can help you judge the effect of the
combined filter bands on the incoming audio signal. For details, see “FFT spectrum analyzer” on page 41.
In addition to using the band controls below the graph, you can edit filter bands directly in the graph:
 Double-click to create bands where you need them. Up to 6 color-coded bands can be added. For details, see
“To add a filter band” on page 31.
 Click on a filter band to select it. Multiple filters can be selected or deselected by holding down the CTRL key
and clicking, or by dragging a rectangle around the filter bands you want to select. This allows you to move
several filters at a time while maintaining their relative frequency relationships. For details, see “To select filter
bands” on page 32.
 Drag a band vertically to change the Gain of a filter, and drag horizontally to adjust the center or cutoff
Frequency.
For more information about using the display graph, see “To interact with the display graph” on page 40.

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User interface
Stereo Mode

L-Phase MB operates in one of two stereo modes:

 Left/Right mode. In Left/Right mode, the left and right channels can each have their own compressor
settings. Each filter band can be assigned to the left channel, right channel, or both (stereo).
 Mid/Side mode. In Mid/Side mode, the stereo signal is converted into two components. The Mid channel
contains the (mono) information that appears in both the left and right channels, while the Side channel
contains all the information that differs between the left and right channels. This allows you to process the sum
and difference portions of the signal completely separately. Each filter band can be assigned to the Mid
channel, Side channel, or both (stereo). L-Phase MB decodes the stereo input signal into Mid/Side, then
encodes the processed signal back into stereo.

To specify the mode, click the EXPERT button to show advanced controls, then click the Mode button
and select Left/Right or Mid/Side in the drop-down list.

The current mode is indicated by the Channel Assignment buttons in the top right corner of the display graph.

Figure 2. Channel assignment.

A. Left/Right mode B. Mid/Side mode

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User interface
The Channel buttons control which channels are affected by the selected bands. For details, see “To assign a
channel to a filter band” on page 37.

Note: If you filter both stereo channels differently, use linear phase processing to avoid introducing unwanted
phase changes. Set Precision to High. For details, see “Precision” on page 29.

Tip: Filter bands cannot overlap. If you want to process the left/mid and right/side channels separately in the same
frequency range, use a separate instance of L-Phase MB for each channel.

Solo mode

Solo mode lets you isolate and hear just the part of the frequency spectrum that is being affected by the selected
filter band(s).
This allows you to more easily identify parts in the input signal that will be affected by the selected filter band(s)
(something that can be difficult to hear by listening to the processed compressor sound) and make more accurate
adjustments to the band(s), if necessary.
In Solo mode, a High-Pass filter and Low-Pass filter are temporarily applied to the selected band, or to the leftmost
and rightmost selected bands if multiple bands are selected.

To enable/disable Solo mode, click the Solo Mode button .

In Solo mode, all unselected filter bands are temporarily disabled.

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User interface
Output meters
The output meter displays the left and right channel post-compressor signal level after the output gain has been
applied. The output meter shows both Peak and RMS values, and has clip indicators to warn when the level has
gone above 0 dB.
The maximum peak value is displayed numerically above the meters and can be reset by double-clicking.

A. Peak level value (double-click to reset) B. Output meters (left and right channels) C. Meter scale (click to select)

To specify the meter scale, click the Meter Scale button below the meter. The following options are available:
 16 dB
 32 dB
 48 dB
 60 dB

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User interface
Gain reduction meters
Each band has a gain reduction meter that displays the amount of automatic gain reduction that occurs when the
input signal exceeds the Threshold level. This can be a good visual guide when setting Attack and Release times.
The gain reduction meters are displayed as a darker shade of each band’s color-coded graph. The gain reduction
meter moves downward from the top of the band.

A. Gain Reduction meter

To limit a band’s maximum amount of gain reduction, adjust a band’s Range control. For details, see “Range” on
page 25.

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User interface
Band controls

The controls below the display graph show the current settings of the selected filter band, and allow you to adjust
them precisely. Frequency and bandwidth settings are adjusted directly in the display graph.
Band enable/disable

Click the power button to disable/enable the respective filter band. The associated controls will be disabled and
the band parameters will have no effect until the band is turned back on. Bands that are not in use will be left out
of the processing, which means that turning off bands can save CPU usage.
Center frequency, bandwidth, and crossover frequencies

A B C

A. Low crossover frequency B. Center frequency point C. High crossover frequency D. Bandwidth

A band’s frequency bandwidth determines what area of the total frequency spectrum the band will process. Each
band has a low crossover frequency and a high crossover frequency, which define the range of frequencies
contained in a band. The crossover frequencies are indicated by two vertical white lines.
The center frequency is located in the center of the bandwidth.
Setting the correct crossover frequencies is important in order to get the best results. The proper crossover
frequencies depends on the type of material being processed and on what adjustments are needed.
Be careful not to set a crossover frequency in the middle of an important instrument’s range, and you normally
don’t want to use radically different compression settings on each side of the crossover frequency.
To adjust the center frequency, drag the band’s center frequency point left or right.
Note: Adjusting a band’s center frequency will affect its bandwidth and potentially the bandwidth of its
neighboring band(s).

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To adjust the bandwidth, do one of the following:
 To adjust both the low- and high- crossover frequencies simultaneously, drag the band’s center frequency point
up/down with the right mouse button, or use the mouse wheel.
 To adjust a single crossover frequency, point to the center of the white vertical line, then drag the handle left or
right.

Figure 3. Drag the white vertical lines to adjust a band’s crossover frequencies.
A B

A. Low crossover frequency B. High crossover frequency

To display both the low and high crossover frequency values, point to the band’s center frequency point.

Figure 4. Point to a band’s center frequency point to display its crossover frequencies.

A B

A. Low crossover frequency B. High crossover frequency C. Frequency bandwidth

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You can create bands at the frequency range you want to work on. However, a band’s crossover frequency cannot
cross a neighboring band’s crossover frequency. If two bands are positioned side by side, they will automatically
become linked and separated by a shared crossover frequency. You can adjust both bands together by dragging
the shared white vertical line. To unlink two bands, double-click the handle of the white vertical line that connects
the bands.

Figure 5. Drag the linked crossover frequency handle to adjust two adjacent bands simultaneously.

A. Linked crossover frequency (double-click to unlink)

Tip: Use Solo mode when fine-tuning the crossover frequencies. This allows you to focus on one band at a time,
and isolate just the frequencies that are affected by that band. For details, see “Solo mode” on page 13.

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Attack

Controls the compressor attack time (in milliseconds) for the selected band. The range is 0.05 ms to 100 ms. The
Attack time should be appropriate for the frequency band. The default Attack time is based on the frequency
where the band is created.

Frequency (Hz) Attack (ms)

10 - 75 50

76 - 320 25

321 - 1300 15

1301 - 6000 10

6001 - 30000 5

The attack value represents the time the compressor takes to respond to an increase in the input audio’s level
once the threshold level has been reached.
A fast attack setting means that compression will be more or less instant. Using a slower attack setting results in
the compression being gradually increased, allowing for more variations in the signal than the fast setting.
Attack should be adjusted according to the nature of the audio material.
To adjust a filter band’s Attack value, do one of the following:
 Adjust the Attack knob. If multiple bands are selected, they are adjusted in parallel.

 Click the Attack display and enter the desired value.

Tip: Use Solo mode when fine-tuning the Attack and Release times. This allows you to focus on one band at a time,
and make sure the transients in each band are shaped as desired. For details, see “Solo mode” on page 13.

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User interface
Release

Controls the compressor release time for the selected band, which is the time the compressor takes to go back to
an inactive state after the input level has fallen below the threshold value. The range is 20 milliseconds to 2
seconds (2000 ms), and Auto. The Release time should be appropriate for the frequency band. The default
Release time is based on the frequency where the band is created.

Frequency (Hz) Release (ms)

10 - 75 1000

76 - 320 500

321 - 1300 250

1301 - 6000 175

6001 - 30000 100

The release time affects the sound of the compressor. If the release time is too fast it can cause distortion. If the
release time is too long it can cause “pumping”, or audible fluctuations of the volume.
Short release times will make the compression more flexible and able to adapt to the input signal, but can cause
fast changes in gain that may sound displeasing to the ears.
Longer release times produce a signal with a more even level and less distortion, but make it harder to maximize
the overall compression because changes in the input level cannot be compensated for quickly enough to make
the output volume totally consistent.

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The L-Phase MB features an Auto Release function that selects the optimal release time based on the content of
the audio material. If Auto is enabled, the release time is dependent on the duration of the signal peak, and allows
the band to automatically adjust the release time in real-time based on the input audio’s changing level. Auto
release can help with avoiding fast compression changes. If the audio contains lots of peaks, a short release time
is selected; if the audio level is steady and has few peaks, a longer release time is selected. Auto release provides
maximum loudness without compromising quality. Auto release is very useful on vocals where the dynamics are
constantly changing.

A. Auto Release

To adjust a filter band’s Release value, do one of the following:

 Adjust the Release knob. If multiple bands are selected, they are adjusted in parallel.

 Click the Release display and enter the desired value.

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Threshold

The threshold value represents the dB level at which compression starts to take place on a given band. The range
is -60 dB to 0 dB and the default value is 0 dB. Gain reduction is only applied to audio that exceeds the threshold.
If the input signal level is below the threshold, and the Knee parameter (see “Knee” on page 30) is set to Hard, no
compression will take place. Once the threshold level is reached, compression (i.e. automatic gain reduction) will
start, reducing the gain of the input signal according to the current band's Ratio, Attack, Release, and Knee
settings.
You can use the Gain control to compensate, or 'make up' for the automatic gain reduction (see “Gain” on page
26).
The threshold should be adjusted according to the relative input level and the type of audio material. The input
level peak value for the selected band is represented by a white dot that rides along the outside of the Threshold
knob. Use the peak value as a guide to set an appropriate value. If the threshold is above the peak, no gain
reduction will take place.

A D

B C

A. Input level peak indicator B. Threshold knob (drag up/down to adjust; double-click to reset) C. External sidechain input
D. Threshold value (double-click to edit)

To adjust a filter band’s Threshold value, do one of the following:

 Adjust the Threshold knob. If multiple bands are selected, they are adjusted in parallel.

 Click the Threshold display and enter the desired value.

Tip: While listening to the project, adjust the Threshold control until the gain reduction meter (see “Gain reduction
meters” on page 15) becomes active. The gain reduction meter responds whenever the Threshold level is
exceeded by the input signal.

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External sidechain

L-Phase MB lets you use an external sidechain signal to trigger a band’s compressor, instead of the main input
signal that is being processed. Sidechaining is typically used with compressors to limit one signal depending on
the signal level of another.
Common applications are to reduce the level of a bass guitar when there is a kick drum, or to reduce the level of
music whenever a speaker talks (this is also known as “ducking”, and is often used for background music in radio
and television programs).
Ducking can also be used creatively when mixing music. For example, reduce the level slightly of backing
instruments such as rhythm guitar when vocals are present, or when someone is taking a solo. Or, reduce levels
of effects like reverb and delay, so the effects only come up to full level during pauses or breaks. This technique
can prevent a mix from becoming too cluttered.
When used in combination with a parametric equalizer, the L-Phase MB external sidechain can also be useful for
de-essing sibilant vocal sounds. To do this, copy the vocal track to a new temporary track that will only be used to
trigger the L-Phase MB's sidechain input. Insert a parametric equalizer plug-in in the L-Phase MB's sidechain
signal path (temporary Vocal track), and boost the offending frequency range. For example, boost the 6-9 kHz
range by 10 dB. In L-Phase MB, assign a band to the same frequency range and specify the desired amount of
gain reduction. This will cause L-Phase MB to apply more gain reduction when sibilance is present than at other
times.
There are of course many more applications that are not mentioned here.
In a typical scenario, you use two separate tracks. One track contains the main signal that is being processed by
L-Phase MB, while a separate track contains the trigger signal that is fed to the L-Phase MB sidechain input.
To enable sidechaining, enable the Ext switch next to the Threshold knob. When enabled, the band uses the
external sidechain input to trigger its compressor. L-Phase MB will only apply gain reduction when the external
sidechain input signal exceeds the threshold.
Please consult the plug-in host program's documentation for instructions on how to configure sidechaining. The L-
Phase MB sidechain input will be exposed as a virtual audio output port that can be assigned to audio track, bus
and aux send outputs.
To audition the sidechain signal
A

A. Sidechain audition

The Sidechain Audition button lets you listen to the sidechain signal to check if everything is routed correctly.
When Sidechain Audition is enabled, the FFT spectrum analyzer and output meter display the sidechain level in
order to better assist you with setting the Threshold value. Disable Sidechain Audition after the desired
Threshold value has been set.
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Ratio

Controls the amount of compression (gain reduction) that will be applied to the signal once the input audio level
exceeds the threshold level. The range is 1:1 to 60:1 and the default value is 2:1.
Ratio denotes the difference in dB between input level and output level, i.e. how much the signal above threshold
level will be compressed. For example, a ratio of 4:1 means that for every 4 dB by which the input signal exceeds
the threshold, the output signal will only increase by 1 dB.
A value of 1:1 indicates that no compression will take place (i.e. there will be no automatic gain-reduction applied).
Higher values indicate a higher level of compression with the band’s output level being held more tightly to the
threshold level. A value of 30:1 holds all compressed material (above the threshold) virtually at the threshold level.
You can use the Gain control to compensate, or 'make up' for the automatic gain reduction (see “Gain” on page
26).
To adjust a filter band’s Ratio value, do one of the following:
 Adjust the Ratio knob. If multiple bands are selected, they are adjusted in parallel.

 Click the Ratio display and enter the desired value.

Figure 6. Compression curve.

Threshold

No gain reduction (1:1)

Gain reduction amount

Output Ratio (1:1 to 30:1)

level
Knee

Input level

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Range
The Range control allows you to limit a band’s maximum amount of gain reduction. The range is 1 dB - 30 dB, and
the default value is 6 dB.
The Range value is indicated by a horizontal line in each band in the display graph.
To adjust the Range, drag the horizontal Range line up/down. The band becomes selected when adjusting its
Range control, and the current value is displayed below the Range line.

Figure 7. Drag the Range line to limits a band’s maximum amount of gain reduction.

A. Range line (drag up/down to adjust)

Note: If you don’t see a band’s Range line, change the dB scale to 30 dB in order to see the
full dB range. For details, see “Display graph” on page 10.

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Gain

This control applies a fixed gain adjustment to a compressor band. It is used as an equalization adjustment as well
as a make-up gain to compensate for any automatic gain reduction. The range is -30 dB to +30 dB and the default
value is 0 dB. The Gain value is equal to the center frequency point in the display graph.
The Gain control is most commonly used to re-balance the subjective level of the compressed audio against the
uncompressed audio. In other words, it reduces the difference in level between the loudest and quietest sounds of
the processed audio.
As the compressor turns down the peak levels of the audio that exceeds the threshold level, you may want to turn
up the level of the entire compressor to balance the mix. For example, if you increase the gain so that the peak
levels are the same as before compression, the quieter sections of the audio will also be increased by the same
amount, effectively keeping the peaks levels as they were before compression while increasing the level of the
quieter audio.
You can also use the L-Phase MB as a dynamic equalizer, which is process of mixing amplification and
attenuation. This is done by using the Gain control to boost a band, then compress the band to bring it back down
to its original level.
To adjust a filter band’s Gain value, do one of the following:
 Hold down the ALT key and drag a filter band up/down.
 Adjust the Gain knob. If multiple bands are selected, they are adjusted in parallel.

 Click the Gain display and enter the desired value.

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Settings

The Settings menu lets you configure the UI responsiveness, open the documentation, and open the About
Screen.

To show/hide the Settings menu, click the Settings button .

The Settings menu contains the following commands:

 Lock Framerate. By default, L-Phase MB refreshes its UI at a rate of 60 frames per second. If you
experience any noticeable UI lag, or visual updates that are less frequent than expected, you can reduce the
frame rate to 45 FPs or 30 Fps. Higher frame rates put more strain on the CPU. For best performance, your
computer must support OpenGL version of 3.2 or higher. The OpenGL version is listed in the About Screen.
The options are as follows:
 30 Fps. Refresh the UI at a rate of UI 30 frames per second.
 45 Fps. Refresh the UI at a rate of 45 frames per second.
 60 Fps. Refresh the UI at a rate of 60 frames per second.
 No Lock. Refresh the UI at the highest possible frame rate. The FFT spectrum analyzer will be smoother,
but the CPU usage will be much higher.
 Documentation. Opens the PDF manual.
 About Screen. Shows version and other information.

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Expert controls

The Expert panel offers features like spectrum analyzer settings, processing precision (Non Linear or linear
phase), channel mode (Stereo or Mid/Side), mix and output level.

To show/hide Export controls, click the EXPERT button .

Figure 8. Expert controls.

A B C

D H

E I

A. Analyzer speed B. Precision C. Stereo Mode D. Knee E. Mix F. Show/hide Expert controls G. Analyzer
display H. Lookahead I. Out

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Analyzer speed
The Speed setting selects the release speed of the spectrum. A fast release shows dynamic changes more
clearly, while a slow release gives you more time to examine the spectrum before it disappears. The options are
as follows:
 Fast.
 Medium. (Default)
 Slow.
Precision
Higher settings produce the best sound quality with less artifacts, but increase latency. The options are as follows:
 Non Linear. Non linear phase processing. Use during recording in order to reduce latency.
 Low. Linear phase processing with low latency and the most artifacts.
 Medium. (Default) Linear phase processing with medium latency and artifacts.
 High. Linear phase processing with the best sound quality, but the highest latency.
Stereo mode
The options are as follows:
 Left/Right. In Left/Right mode, the left and right channels can each have their own compressor settings.
Each filter band can be assigned to the left channel, right channel, or both (stereo).
 Mid/Side. In Mid/Side mode, the stereo signal is converted into two components. The Mid channel contains
the (mono) information that appears in both the left and right channels, while the Side channel contains all the
information that differs between the left and right channels. This allows you to process the sum and difference
portions of the signal completely separately. Each filter band can be assigned to the Mid channel, Side channel,
or both (stereo). L-Phase MB decodes the stereo input signal into Mid/Side, then encodes the processed signal
back into stereo.
Analyzer display
The options are as follows:
 Pre. Show the pre-compressor spectrum visualization.
 Post. Show the post-compressor spectrum visualization.
 Both. (default) Show both the pre-compressor (dark gray) and post-compressor (light gray) spectrum
visualization.

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Knee
L-Phase MB is a variable-knee compressor. The Knee setting determines the dB range above and below the
threshold where the compression transitions from 1:1 to the selected compression ratio. The range is 0 dB (hard)
to +30 dB (soft) and the default value is 15 dB.
A hard knee setting means that full compression will take place immediately after the Threshold level is reached.
A soft knee setting causes the compression to react more gradually around the threshold, somewhat smoothing
the dynamic effect. A small amount of compression is applied just before the threshold is reached, and the center
of the knee is located exactly at the threshold. A soft knee normally sounds more natural and “musical”, especially
on vocals and complete mixes. A soft knee setting also allows using higher ratios since the transition from 1:1 to
higher ratios is gradual.
Melodic instruments typically use a soft knee while percussive and rhythmic instruments use a hard knee.

Threshold

Output
level
Knee

Input level

Lookahead
The Look control allows the compressor to start reacting up to 20 milliseconds before gain change is actually
detected. Lookahead peak detection can prevent clipping, and lets you preserve transients, while still avoiding
ultra-fast attack times that might cause distortion or aliasing. The range is 0 to 20 ms and the default value is 0.

Note: The Look control has no effect when the Precision mode is set to Non Linear.

Mix (wet/dry)
The Mix control adjusts the balance between the unprocessed (dry) and processed (wet) audio signal. The range
is 0 to 100% and the default value is 100%.
Output gain
The Out control allows a final gain adjustment to be applied to the overall post-compression output level. The
range is -INF (infinity) to +6 dB and the default value is 0 dB.
The Out control lets you correct any overall level change that the combined filter bands might introduce.

30
User interface
Using the L-Phase Multiband
Typical workflow
First, determine if the track needs compression. Every track does not require compression.
If compression is required, add filter bands for the frequency regions you want to control, and carefully set the
crossover frequencies for each band (use Solo mode).
Starting with the lowest band, do the following for each band:
1. Set the Attack to minimum (0.5 ms), Release to around 750 ms, and Threshold to maximum (0.0 dB).
2. During playback, reduce the Threshold until the compressor catches the peaks you want to compress. As a
starting point, aim for 2-6 dB of gain reduction at the loudest part of the track. Watch the Gain Reduction meter
to see how much you're compressing.
3. Adjust the Ratio to suit the audio material and produce the desired amount of gain reduction.
4. Adjust the Attack and Release controls by ear in order to find the best balance with the fewest unmusical side-
effects. Use the Gain Reduction meter as a visual guide to see how fast the compressor is changing. The
Attack and Release controls can dramatically reshape transients. Slow Attack times keep more of the natural
attack of the instrument and make the compression more subtle. Try faster Attack times if transients are too
loud. In most cases you want to let the transients through, then let the compression shape the tone of the
instrument after the transient. Fast Release times will make the audio material the less dynamic. Slow
Release times sound more natural. In general, Release times increase with lower frequencies.
5. Adjust the (make-up) Gain until the output level matches the original input level. To compare the pre-process
and post-process signal levels, temporarily disable the band.
For a list of typical compression settings for various instruments, see “Useful compressor settings” on page 49.
These settings can be used as a starting point, but each recording is different and will likely require its own unique
settings.
To add a filter band
Up to 6 color-coded filter bands can be added to the display graph.
Double-click in the display graph to add a new filter band at that location. Drag the point to change the
equalization.

Note: When creating new bands, they are numbered sequentially (1, 2, 3...6). If you delete a band, the
remaining bands will not be renumbered in order to ensure that any existing automation data continues to
control the correct bands.

31
Using the L-Phase Multiband
To select filter bands
To select a filter band, do one of the following:
 Click the filter band’s center frequency point in the display graph.
 To select multiple filter bands, hold down the CTRL key and click each band, or drag a rectangle around the
bands. To deselect a filter band, hold down the CTRL key and click the band.

 Click the Next Band or Previous Band buttons to select the next or previous filter band in the order in
which they appear in the display graph.
 Press the RIGHT ARROW key to advance the selection to the next filter band and press the LEFT ARROW key
to move the selection to the previous filter band.
 To clear the selection, click an empty area in the display graph.
 If multiple bands are selected, double-click any selected band to only select that band.
Selected bands have a white outline.
When selected, you can use the controls below the display graph to modify the filter band(s).

Figure 9. Select individual or multiple bands by clicking or dragging.

A B C D

A. Unselected band B. Selected band (white outline) C. Drag to lasso-select multiple bands D. Multiple selected bands

Note: Adjusting band parameters affects all selected bands.

32
Using the L-Phase Multiband
To enable/disable a filter band
To enable/disable the selected filter band(s), click the power button below the display graph.

Enabled bands are processed with equalization. The knobs and graph curves are color-coded per band:
Disabled bands are not processed and appear dimmed in the display graph.
To adjust a filter band
1. Select the filter band(s) you want to adjust.
2. Adjust the knobs and buttons below the display graph.
You can also adjust filter bands directly in the display graph. For details, see “To interact with the display graph” on
page 40.

Figure 10. Filter band controls.

A B C D E F

A. Band enable/disable B. Attack C. Release D. Threshold E. Ratio F. Gain

To adjust a band’s center frequency

Hold down the ALT key and drag the band’s center frequency point left or right. The center frequency is displayed
while dragging.

Note: Adjusting a band’s center frequency will affect its bandwidth and potentially the bandwidth of its
neighboring band(s).

33
Using the L-Phase Multiband
To adjust a band’s frequency bandwidth
Each band has a low crossover frequency and a high crossover frequency, which define the range of frequencies
contained in a band. The crossover frequencies are indicated by two vertical white lines.
To adjust the bandwidth, do one of the following:
 To adjust both the low- and high- crossover frequencies simultaneously, drag the band’s center frequency point
up/down with the right mouse button, or use the mouse wheel.
 To adjust a single crossover frequency, point to the center of the white vertical line, then drag the handle left or
right.

Figure 11. Drag the white vertical lines to adjust a band’s crossover frequencies.
A B

A. Low crossover frequency B. High crossover frequency

34
Using the L-Phase Multiband
To display both the low and high crossover frequency values, point to the band’s center frequency point.

Figure 12. Point to a band’s center frequency point to display its crossover frequencies.

A B

A. Low crossover frequency B. High crossover frequency C. Frequency bandwidth

You can create bands at the frequency range you want to work on. However, a band’s crossover frequency cannot
cross a neighboring band’s crossover frequency. If two bands are positioned side by side, they will automatically
become linked and separated by a shared crossover frequency. You can adjust both bands together by dragging
the shared white vertical line. To unlink two bands, double-click the handle of the white vertical line that connects
the bands.

35
Using the L-Phase Multiband
Figure 13. Drag the linked crossover frequency handle to adjust two adjacent bands simultaneously.

A. Linked crossover frequency (double-click to unlink)

Tip: Use Solo mode when fine-tuning the crossover frequencies. This allows you to focus on one band at a time,
and isolate just the frequencies that are affected by that band. For details, see “Solo mode” on page 13.

For more information, see “Center frequency, bandwidth, and crossover frequencies” on page 16.
To delete a filter band
1. Select the filter band(s) you want to delete.
2. Do one of the following:

 Click the Delete Band button .

 Press the DELETE key.
When a filter band is deleted, the next filter band becomes selected.

Note: When creating new bands, they are numbered sequentially (1, 2, 3...6). If you delete a band, the
remaining bands will not be renumbered in order to ensure that any existing automation data continues to
control the correct bands.

36
Using the L-Phase Multiband
To assign a channel to a filter band
L-Phase MB can be used in Left/Right mode or Mid/Side mode, and you can freely assign each individual filter
band to the left, right, mid, side, or stereo channel(s). For details, see “Stereo Mode” on page 12.

In Left/Right mode , a band can affect the left channel, right channel, or both.

In Mid/Side mode , a band can affect the mid channel, side channel, or both.

To globally switch between Left/Right and Mid/Side modes, click the EXPERT button , then click the
Mode drop-down list and select Mid/Side or Left/Right.
To assign a channel to a filter band:
1. Click the band’s center frequency point in the display graph.

2. In the Channel Type control ( or ) in the upper right corner, click the channel you want the
band to control.
The band’s center frequency point indicates which channel the band controls:
 Left/Right mode:
• L = Left
• R = Right
• None = Stereo
 Mid/Side mode:
• M = Mid
• S = Side
• None = Stereo

Figure 14. Left/Right mode band indicators.

A B C

A. Left channel indicator B. Stereo indicator C. Right channel indicator

37
Using the L-Phase Multiband
Figure 15. Mid/Side mode band indicators.
A B C

A. Mid channel indicator B. Stereo indicator C. Side channel indicator

38
Using the L-Phase Multiband
To enter parameter values directly
Attack, Release, Threshold, Ratio, and Gain values for the selected filter band are displayed below the display
graph.
You can use numeric text entry to enter a specific parameter value. To do so, click the parameter value display and
type a value in the text edit box.

A B C D E

A. Attack B. Release C. Threshold D. Ratio E. Gain F. Direct parameter value entry box

39
Using the L-Phase Multiband
To interact with the display graph
You can adjust basic compressor settings with the band controls below the display graph, but some advanced
controls can only be adjusted in the display graph.
You can adjust the compressor by manipulating the display graph as follows:
 To adjust a band’s gain, drag up/down. If you have multiple bands selected, the gain of all selected bands will
be scaled relative to each other.
 To adjust a band’s center frequency, drag left/right.
 To adjust a band’s bandwidth (frequency range), drag up/down with the right mouse button, or use the mouse
wheel.
 To adjust a band’s low- or high- crossover frequency, point to the middle of the white vertical line and drag the
handle left/right.
 To display both the low- and high- crossover frequency values, point to the band’s center frequency point.
 To unlink two bands, double-click the handle that connects the bands.
 To constrain a band to the vertical axis (dB), hold down the ALT key while dragging up/down.
 To constrain a band to the horizontal axis (frequency), hold down the ALT key while dragging left/right.
 To adjust parameters with finer precision, hold down the SHIFT key while dragging.
 To enable/disable a band, select the band and click the band’s On/Off button.
For details, see “Display graph” on page 10.
To bypass the L-Phase Multiband

Click the global Bypass button to bypass the entire plug-in. When bypassed, the input signal is not
processed.

Note: To enable/disable individual filter bands, use the band controls located below the display graph. For
details, see “To enable/disable a filter band” on page 33.

40
Using the L-Phase Multiband
FFT spectrum analyzer
The integrated FFT (Fast Fourier Transform) spectrum analyzer displays the instantaneous level of all
frequencies, which can help you judge the effect of the combined filter bands on the incoming audio signal. The
vertical axis represents amplitude and the horizontal axis represents frequency, and you can configure the
spectrum analyzer to display the input signal, output signal, or both.

Figure 16. FFT spectrum analyzer.

C D

A. Analyzer speed B. Analyzer display C. Pre display D. Post display

To configure the FFT spectrum analyzer, click the EXPERT button to show advanced controls. You can
customize the following spectrum analyzer settings:
 Analyzer Speed. The Speed setting selects the release speed of the spectrum. A fast release shows
dynamic changes more clearly, while a slow release gives you more time to examine the spectrum before it
disappears. The options are as follows:
 Fast.
 Medium. (Default)
 Slow.
 Analyzer Display. The options are as follows:
 Pre. Show the pre-compressor spectrum display.
 Post. Show the post-compressor spectrum display.
 Both. (default) Show both the pre-compressor (dark gray) and post-compressor (light gray) spectrum
display.

Note: To disable the FFT spectrum analyzer, click the currently-selected display mode button (Pre, Post, or
Both).

41
FFT spectrum analyzer
Preset Manager
L-Phase MB includes many factory presets to get you started, and you can save your own settings and re-use
them in other projects or across multiple instances of L-Phase MB in the same project. The Preset Manager lets
you manage and browse presets.

Note: Presets are helpful as a starting point, but keep in mind that the optimum compression settings depend
on the audio material, and will vary from project to project.

To expand/collapse the Preset Manager

Click the preset control at the top of the L-Phase MB.
The preset control shows the name of the current preset.

Figure 17. Preset Manager (collapsed).

A

A. Click to expand/collapse the Preset Manager

42
Preset Manager
Figure 18. Preset Manager (expanded).
A B C

F G H
A. Previous preset B. Current preset (click to expand Preset Manager) C. Next preset D. Selected preset E. Selected preset
description (if any) F. Create folder G. New preset H. Delete selected preset

The Preset Manager contains the following controls:

 Preset list. The preset list lets you select previously saved presets from the list. When new presets are added
or removed, the menu will always reflect the changes. The preset list is always sorted alphabetically and
displays all available presets. The currently selected preset is highlighted.
 To navigate the preset list, use the scroll bar, mouse wheel, or UP/DOW ARROW keys.
 To open/close the selected folder, double-click, press ENTER or use the LEFT/RIGHT ARROW keys.
 Preset Description. This field shows any optional description that was entered when the preset was created.

 Add Preset . Create a new preset.

 Delete . Delete the selected preset or folder.

 Create Folder . Create a new preset folder, which makes it easy to organize and categorize your presets.
For more information, see “How presets are stored” on page 46.

43
Preset Manager
To load a preset
To load a preset, do one of the following:
 Click the preset control to open the Preset Manger, then double-click the preset you want to load.

 Click the Next Preset button to load the next preset.

 Click the Previous Preset button to load the previous preset.

The preset control shows the name of the current preset.

A B C

A. Load previous preset B. Current preset (click to open Preset Manager) C. Load next preset

To save a preset
To save the current settings as a new preset:
1. Open the Preset Manager.

2. Click the Add Preset button to open the Save Preset dialog box.
3. Type a name and optional description, specify in which folder to store the preset, then click OK.

Figure 19. Save Preset dialog box.

A. Cancel B. Preset name C. Folder D. Description E. OK (save preset)

Note: If you want to back up your presets or copy them to another computer, the main preset folder is located
in C:\Cakewalk Content\LP MB\Presets.

44
Preset Manager
To create a preset folder
You can create subfolders to organize and categorize your presets.
1. Open the Preset Manager.

2. Click the Create Folder button , type a name, then click OK.

Figure 20. Create Folder dialog box.

Note: The main preset folder is located in C:\Cakewalk Content\LP MB\Presets. Any subfolders
appear as separate folders in the Preset Manger. You can rename and organize preset files and folders in
Windows Explorer, and the Preset Manager will automatically reflect the changes the next time it is opened.

To delete a preset or folder

1. Open the Preset Manager.
2. Select the preset of folder you want to delete.

3. Click the Delete button .

You will be prompted for confirmation before the preset or folder is deleted.

Figure 21. Delete dialog box.

45
Preset Manager
To edit a preset
You can rename or move an existing preset into another preset folder.
1. Open the Preset Manager.
2. Right-click the preset you want to edit.
3. Specify the name and folder, then click OK.
How presets are stored
L-Phase MB preset are stored in separate files with the .cfx extension. All presets reside in subfolders in the main
preset folder. The subfolders appear as separate folders in the Preset Manger.
The default location of the main preset folder is C:\Cakewalk Content\LP MB\Presets. If you have changed
the default Content Path folder in Cakewalk Command Center, you will find the L-Phase MB preset folder in
<Content Path folder>\LP MB\Presets.
You can rename and organize preset files and folders in Windows Explorer, and the Preset Manager will
automatically reflect the changes the next time it is opened.

Note: The L-Phase MB preset files use a proprietary format and are stored using the .cfx extension. Although
the presets are stored as clear text rather than binary data, you should not attempt to edit them manually. You
should also note that they are not compatible with various types of preset files created by host applications,
and such files can not be imported into the Preset Manager.

46
Preset Manager
A/B compare settings
The A/B controls allow you to have two separate sets of compressor settings, and toggle between the two in order
to compare parameter settings. The Setup A and Setup B settings are completely independent, and changes to
one do not affect the other.
Use the A/B controls to determine if any adjustments are improving or detrimental to the mix. For example, if you
want to slightly modify the settings in Setup A, you can copy them to Setup B by clicking on the Copy to B
button, then alter Setup A and compare with the original Setup B.

Figure 22. Use the A/B controls to compare two different settings.
A B C

A. Setup A settings B. Copy A settings to B or Copy to B settings to A C. Setup B settings

The A/B section contains the following controls:

 Setup A . L-Phase MB uses settings from Setup A. Any adjustments made to Setup A does not affect
Setup B. All parameter changes made will be retained in this setup when you change to Setup B.

 Copy to B or Copy to A . If Setup A has focus, copy the current parameter settings to Setup B. If Setup
B has focus, copy the current parameter settings to Setup A. The Copy to button indicates in which direction
the settings will be copied (A to B, or B to A).

 Setup B . L-Phase MB uses settings from Setup B. Any adjustments made to Setup B does not affect
Setup A. All parameter changes made will be retained in this setup when you change to Setup A.

Note: L-Phase MB only persists the settings in Setup A. If you are using Setup B, the current settings will be
shifted to Setup A when the project is closed. The next time you open the project, Setup A will be active with
the latest settings.

47
A/B compare settings
Automation
The L-Phase MB exposes the following automatable parameters:
 Analyzer Display
 Analyzer Speed
 Mid/Side Mode
 Output Gain
 Output Meter dB Range
 Plot dB Scale
 Bypass
 Processor Precision
 Solo Mode
 Wet/Dry Mix
 Enable/disable (per filter band)
 Band active (per filter band)
 Auto Release (per filter band)
 Mode (per filter band)
 Left Frequency (per filter band)
 Right Frequency (per filter band)
 Attack (per filter band)
 Release (per filter band)
 Threshold (per filter band)
 Ration (per filter band)
 Gain (per filter band)

48
Automation
Useful compressor settings
The following table lists typical compressor settings for various instruments. Use these guidelines as a starting
point, but it’s important to adjust the settings to suit your specific audio material.
For general workflow guidelines, see “Typical workflow” on page 31.

Source Attack Release Ratio Knee

Vocals 0.5 ms 40 - 500 ms 2:1 - 8:1 Soft

Electric guitar (distorted) 25 ms 1000 - 2000 ms 4:1 Hard

Electric guitar (clean) 25 ms 250 - 500 ms 2.5:1 - 4:1 Hard

Acoustic guitar 100 - 500 ms 100 - 500 ms 2:1 - 4:1 Medium

Bass (electric) 10 - 50 ms 150 - 500 ms 4:1 - 12:1 Hard

Bass (acoustic) 40 - 50 ms 200 ms 5:1 - 8:1 Hard

Bass (synth) 10 - 50 ms 250 ms 3.5:1 - 5:1 Hard

Kick 1 - 10 ms 200 - 300 ms 2.5:1 - 6:1 Hard

Snare 5 - 10 ms 10- 300 ms 2.5:1 - 6:1 Hard

Toms 5 - 10 ms 125 - 175 ms 4:1 - 6:1 Hard

Cymbals 25 ms 1000 - 2000 ms 2:1 - 10:1 Hard

Piano 5 - 20 ms 150 - 250 ms 2:1 - 4:1 Hard

Keyboards 100 ms 100 - 250 ms 2:1 - 3:1 Hard

Brass 1 - 25 ms 200 - 300 ms 4:1 - 15:1 Hard

Strings 30 - 150 ms 100 - 750 ms 1.5:1 - 3:1 Hard

Mix 10 - 100 ms 200 - 500 ms 2.5:1 - 6:1 Soft

Table 1. Compressor guidelines

49
Useful compressor settings
50
Useful compressor settings
Index

A C
A/B comparison 47 Center frequency 16, 33
About Screen 27 Compare settings 47
adjust 33 Controls 16
Analyzer 41 Copy to B 47
speed 29 Crossover frequencies 16
Attack 19
Auto Release 21 D
Automation parameters 48
De-essing 23
Disable 16
B Display graph 10
Band interact with 40
attack 19 Ducking 23
bypass 16 Dynamic equalizer 26
disable 16
Dynamic range 6
enable 16
gain 26
ratio 24 E
release 20 Enable 16
threshold 22 Expert controls 28
Band controls 16 Ext 23
Bandwidth 16 External sidechain 23
Button operation 8
Bypass 9

Index 51
F M
FFT spectrum analyzer 41 Make-up gain 26
Filter bands Max gain reduction 25
adding 31 Meters
adjusting 33 gain reduction 15
assign to channel 37 output 14
deleting 36 Mid/Side 12
enabling/disabling 33 Mid/Side mode 12
numeric text entry 39 Mix 30
selecting 32 Mode 29
Framerate 27
Left/Right 12
Mid/Side 12
G
Gain 26 N
output 30 Nodes, see Filter bands
Gain reduction meters 15
Graph 10 O
interact with 40
Out 30
Output gain 30
H Output meter 14
Help 9 Overview 5

K P
Keyboard shortcuts 9 Parameter controls
Knee 30 attack 19
Knob operation 8 enable/disable 16
gain 26
ratio 24
L release 20
Latency 30 threshold 22
Left/Right mode 12 Parameter value display 8
Linear Phase processing 6 Peak
Lookahead 30 maximum value display 14
L-Phase Multiband Plot 10
bypass 40 Post 29
using 31 Power, see EQ Enable/Disable
Pre 29

52 Index
Precision 29 W
Preset
Wet/dry mix 30
create folder 45
What can you do with the LP MB? 6
delete 45
edit 46
load 44 Z
save 44 Zero phase 6
Preset manager 42
Processing 29
Pumping 6

R
Range 25
Ratio 24
Release 20

S
Settings 27
Setup A 47
Setup B 47
Shortcuts 9
Sidechain 23
Solo mode 13
Spectrum analyzer 41
Stereo 12
Stereo mode 29

T
Threshold 22

U
Useful settings 49
User Interface 7

Index 53
54 Index
CAKEWALK, INC.
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recorded will be free of defects in material and workmanship under normal use for a period of thirty (30) days from purchase, and that the Product will perform substantially in
accordance with the user guide for a period of thirty (30) days from purchase. Cakewalk's sole responsibility under this warranty will be, at its option, (1) to use reasonable efforts
to correct any defects that are reported to it within the foregoing warranty period or (2) to refund the full purchase price. Cakewalk does not warrant that the Product will be error
free, nor that all program errors will be corrected. In addition, Cakewalk makes no warranties if the failure of the Product results from accident, abuse or misapplication. Outside the
United States, these remedies are not available without proof of purchase from an authorized international source. All requests for warranty assistance shall be directed to Cakewalk
at the following address:
Cakewalk, 51 Melcher Street, Boston, MA 02210 U.S.A.
7.2. Limitations on Warranties. THE EXPRESS WARRANTY SET FORTH IN THIS ARTICLE 5 IS THE ONLY WARRANTY GIVEN BY CAKEWALK WITH RESPECT TO
THE ENTIRE PRODUCT; CAKEWALK MAKES NO OTHER WARRANTIES, EXPRESS, IMPLIED OR ARISING BY CUSTOM OR TRADE USAGE, AND
SPECIFICALLY DISCLAIMS THE IMPLIED WARRANTIES OF NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR ANY PARTICULAR PURPOSE.
CAKEWALK SHALL NOT BE HELD RESPONSIBLE FOR THE PERFORMANCE OF THE PRODUCT NOR FOR ANY LIABILITY TO ANY OTHER PARTY ARISING
OUT OF USE OF THE PRODUCT.
SOME STATES DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU. THIS
WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY ALSO HAVE OTHER RIGHTS WHICH VARY FROM STATE TO STATE.
8. LIMITATIONS ON REMEDIES. Cakewalk's liability in contract, tort or otherwise arising in connection with the Product shall not exceed the purchase price of the Product. IN
NO EVENT SHALL CAKEWALK BE LIABLE FOR SPECIAL, INCIDENTAL, TORT OR CONSEQUENTIAL DAMAGES (INCLUDING ANY DAMAGES RESULTING
FROM LOSS OF USE, LOSS OF DATA, LOSS OF PROFITS OR LOSS OF BUSINESS) ARISING OUT OF OR IN CONNECTION WITH THE PERFORMANCE OF THE
PRODUCT, EVEN IF CAKEWALK HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES SO THE ABOVE EXCLUSION OR
LIMITATION MAY NOT APPLY TO YOU.
9. U.S. GOVERNMENT RESTRICTED RIGHTS. If you are a government agency, you acknowledge that the Product was developed at private expense and that the computer
software component is provided to you subject to RESTRICTED RIGHTS. The rights of the government regarding its use, duplication, reproduction or disclosure by the
Government is subject to the restrictions set forth in subparagraph (c)(1)(ii) of the rights in Technical Data and Computer Software clause at DFARS 252.227-7013, and (c)(1) and
(2) of the Commercial Computer Software -- Restricted Rights clause at
FAR 52.227-19. Contractor is Cakewalk, Inc.
10. TERMINATION. This License Agreement will terminate immediately if you breach any of its terms. Upon termination, you will be required promptly to return to Cakewalk or
to destroy all copies of the Product covered by this License Agreement.
11. CAKEWALK ANALYTICS
11.1 Cakewalk may collect information about the use of the Software via (“Cakewalk Analytics”), and use this data internally to improve the product. Cakewalk Analytics is
anonymous OR can be connected to your Cakewalk account. You may specify whether or not to participate in Cakewalk Analytics at any time, by selecting the appropriate option
in the Software preferences at any time.
11.2 Further information about Cakewalk Analytics can be found at www.cakewalk.com/analytics.
12. MISCELLANEOUS.
12.1. Governing Law. The terms of this License shall be construed in accordance with the substantive laws of the United States and/ or Commonwealth of Massachusetts, U.S.A.
12.2. No Waiver. The failure of either party to enforce any rights granted hereunder or to take any action against the other party in the event of any breach hereunder shall not be
deemed a waiver by that party as to subsequent enforcement of rights or subsequent actions in the event of future breaches.
12.3. Litigation Expenses. If any action is brought by either party to this Agreement against the other party regarding the subject matter hereof, the prevailing party shall be entitled
to recover, in addition to any other relief granted, reasonable attorneys' fees and litigation expenses.
12.4. Unenforceable Terms. Should any term of this License Agreement be declared void or unenforceable by any court of competent jurisdiction, such declaration shall have no
effect on the remaining terms hereof.
YOU ACKNOWLEDGE THAT YOU HAVE READ THIS LICENSE AGREEMENT, UNDERSTAND IT AND AGREE TO BE BOUND BY ITS TERMS AND CONDITIONS.
YOU FURTHER AGREE THAT IT IS THE COMPLETE AND EXCLUSIVE STATEMENT OF THE LICENSE AGREEMENT BETWEEN YOU AND CAKEWALK WHICH
SUPERSEDES ANY PROPOSALS, OR PRIOR AGREEMENT, ORAL OR WRITTEN, AND ANY OTHER COMMUNICATIONS BETWEEN YOU AND CAKEWALK
RELATING TO THE SUBJECT MATTER OF THIS LICENSE AGREEMENT.

56 LICENSE AGREEMENT