John Vere

I just learned how to read the dump files so I was looking at all of mine from the last year. Kontakt and TTS-1.  Every time. 
That Quick Quack sounds like a loser too. 

Seems like it’s to do with moving the desktop to a different drive. I don’t think that’s allowed?? 

2 hours ago, Jimbob Blues said:

 

We're not going down this road again, are we? Please don't.

 

Amen. It’s worse on the Facebook pages. They are all so very uninformed about the whole show . Who can blame them. 

5 hours ago, Giorgio Gabriel said:

Sorry Jonh for my imprecise information.

I was referring to the Gain of the audio card, not in the software.

Regards,

Giorgio

Sorry I should have read you answer more closely as I see now what you were saying is clear. 
What I don’t know is what this person is using Bandlab app on . It might be totally different when you use an audio interface with a tablet or phone. And Apple doesn’t need ASIO as far as I can tell. 

28 minutes ago, Giorgio Gabriel said:

Try to adjust the GAIN of the channel used for recording of the audio interface. This should fix the issue.

Regards,

Giorgio

 

Sorry but that is wrong information. Audio levels are set at the audio interface before it is converted to digital and sent to your Daw. 
You can turn the track gain right off and the recording level will not change.  

As you set the levels on your Interface with the track in record standby the track meter should match what the meter on the interface is showing. 
 

This is true of ASIO system. On board audio there’s Windows volume mixer involved. 
Possibly your friend did not check there and make sure they are using ASIO mode.
Oh wait a minute  did you say Bandlab the cell phone app??  Or are you saying Cakewalk by Bandlab

Did you follow the instructions in the video posted by @reginaldStjohn? 

3 hours ago, pwal³ said:

how about the ad/da converters? surely they can be just as important (maybe more?) as the pre-amps?

It’s been gone over a million times on all the audio related forums and the conclusion is that in blind testing nobody can hear a difference.

Even the super budget converters on a computer sound card seem to work fine. Of course there must be a difference but it will be off the spectrum of human hearing. 
 

You won’t hear anything different running the signal through a mixer like a Mackie. They are good mixers and transparent. 

the Behringers that have the Midas pre amps  are actually one of the best pre amps available. They rate very high on the list. The ones that don’t have Midas are considered garbage and rate near the bottom. 

I don’t really review them I just compare price points to features. 
This video he reviews in detail and has tested a few. The only problem is there’s a few interfaces he didn’t test like Zoom and Tascam that are in my opinion very good interfaces. 

I will interpret this as you are saying to use analog gear you have to send it out from the DAW through you audio interface and then bring it back?  
Yes often people who do this use what are called inserts if your interface supports them. 
But a regular interface can easily be configured if it has lots of ins and outs.  
With a good quality interface using ASIO drivers there should be no latency. 
The DAW and the ASIO driver calculate the latency and adjust for it so everything is in perfect sync. Only ASIO does this. 

You won’t normally hear  back from them. I never have other than auto generated emails telling me to try safe mode. 
Which is what you need to try. 
It will be a plug in you need to remove. 

Just look for the text in blue which is a link and opens a page with details about what causes the crash. 

How about you attach the actual dump file here. 

I’m by no means perfect unless it’s a bass part😎

It might take me 20 times to record a guitar solo. I just keep overdubbing until I nail  it.

I have no patience for gluing together a bunch of badly played parts. Those attempts always sound stupid to me.

For the left over blunders  I can then simply punch in or better yet use Melodyne to move a note to where it belongs. 
Tape deck mode rocks!  

There’s also the fact that I need to be able to go play these songs live! 
 

Being someone who started in the 60’s with dozens of garage bands playing cover tunes and having fun playing at dances and all that stuff. 

This was a time  when it was possible to actually get out there and score a record deal.  I chose a day job instead and music was just a hobby and getting together with other people like me to jam. This was my big city days. Music was fun and casual. I even bought a Reel to reel and started my recording journey. 

I was like this for about 15 years and we moved to a small community and was immediately grabbed by a local band and hauled off to play at hippie festivals, bars, nightclubs and all that wonderful 80’s stuff. 
My wife was not happy staying at home with the kids while I spent the weekend out of town making my $100!  So I went solo and stayed close to home. I also made $300- $450 this way. Wife was happy and I was still playing. 
What I learned was I had become addicted to playing live. 
Im now 71 and I still get phone calls to go do gigs. 
I still only make $300?  
 

Then I have written over 50 original songs and recorded them since 1993 when I built my first studio.

I would make cassettes and sell a few of them at gigs but overall it was a flop. I might have made a total of $200 selling Tapes and CD’s in my entire lifetime. 
Fast forward to last summer when I went big time and posted 14 songs using DistroKid. So far that has netted me $5.
 

So I feel just like you and I think I’ll just pull them and tell the distributor to keep there lousy $5.

People want to hear my songs they can come to my gigs and I’ll sell them a CD for $2.00 and make more money that way  

I have no clue if the people streaming my song actually like them??  At least when you play to a real audience you get a response.  
I really don’t see the point in releasing music with the new system anymore. 
 

And I read here that there’s probably people stealing my music and releasing it under different names. 

So I can totally see where you are coming from. . 

4 hours ago, sjoens said:

Interesting it's the default setting, though you can make a project template using any of the others as default.

Exactly. I get screwed up when I start a project from a Midi file or a default template. It's caused me a lot of trouble over the years. I hate that comping is the default. I think it should be a global choice in preferences.

I was thrilled to see that overwrite is the default in Cakewalk Next. The dude who programed that software at least was smarter than the Sonar dude! 

Simple, just turn on automation write and move the mix from 100% 0n to  0% off. In your case this would be from 30% 

This was cool, I've never tried to post a video directly.It worked!!  Screw Youtube, this is faster!! It was a fluke the movie was exactly 2.44MB!   

The other way would be to put the delay as a Sub Bus and automate the send. 

Like the old Aphex Aural exciter. It made your PA sound "better" turned out it was just adding high frequency harmonic distortion.  We all know how much more fun it is to play a guitar at maxed out pre amp overdrive from a tube amp. Pedals just never cut it for me. But a Fender, Orange, Blackstar ,Marshall, Hi Watt, Vox etc  on 11 can't be beat! 

Did you open the crash dump and look at what actually caused the crash? 

I just learned how to do this after all these years thanks to help from another forum member. 

You will need this app. WinDbg. available at the Microsoft store. It can open any dump files for any software. 

The Dump file is hard to find but this is my pathway for Sonar. 

Users\me\Appdata\roaming\cakewalk\Sonar\mini dumps

I played with it for a few hours looking at all the crash dumps from the last year and it was always either the TTS-1 ( another DX plug in) and Kontakt. 

I also found out why my video editing software was crashing. It was VST plug in related. 

9 hours ago, greg54 said:

So I guess I'll trust the monitors and fix all the frequency issues.  That way I'll know they'll be right (or better).  

But also proof on other systems, even if all those headphones are different they are still just one type of listening device. I bought this and it's been the greatest proofer of them all. It's Mono and will immediately make anything that is wrong like too much bass real obvious. I can play exported mixes through it using Media Player even with Cakewalk open. I also use Sonobus  https://www.sonobus.net/   to send directly from my Master bus to my cell phone. Its amazing software FREE! 

iHome Weather Tough Portable BT Speaker with LED Black

Use Overwrite mode. You won't have this problem. Comping mode can make a confusing mess if you don't totally understand how it works. I never use it for that reason. I'd rather just use more tracks. Everybody has a workflow. 

1 hour ago, greg54 said:

Monitors have frequencies that sound one way, and headphones sound another.

To infinity! That is why most of us have lots of options in the studio to proof mixes.  Over time you learn to know what it is you are actually hearing from you monitors. It seems from what you are saying you have good monitors you trust.   But you also were saying you were not happy with the sound of your vocals. So is it that they sound great after you EQ them in the monitors and everywhere else but not on your headphones?  Don't use those headphones, simple. 

I have dozens of headphones I've bought over time, many were expensive and name brands. I only have one pair that I trust, Apex HP 60.  They are so old all the vinyl is gone from the foam. Finding the right Headphones is like that quest for a Mike that matches your voice.  

The other headphones are scattered about the house and might see use when I have someone else in the studio. 

5 hours ago, Emanu3le85 said:

why do all these analog consolle emulations exist?

Very good question. I personally think it’s an attempt to bring back the sound you can get from good quality ( expensive) analog recording equipment. A lot of the marketing is snake oil. 
As we all know the difference was mostly in the harmonic distortion that analog circuits and tape added to the recording . 

In the digital world we have two phrases that are bantered about transparent and coloured. 
Coloured might also be called warmth or even analog mojo! 

There’s the snake oil. 
Hopefully by design your digital signal path is transparent and your audio recoding will be un-coloured. 

The only thing that would add true colour is the pre amp of your audio interface. As everything before the A/D converter can be high quality analog, This is the best way to achieve great analog sound. Hardware that is before the A/D. This is why your choice of an audio interface is so important. 

So this is also part of the answer to your question. Why make digital emulation of this hardware? 
Most people seem to think that they are missing out on something using digital so they  seek out that analog warmth using digital software emulation. All the digital stuff can do is attempt to add harmonic content to the sound. It is doomed to fall short of the mark  because analog is infinite and digital will always be a block of numbers at the mercy of your computers processing power. 

The OP came back yesterday I guess to read the replies. 

17 hours ago, Emanu3le85 said:

putting the pre at the beginning

I hope you understand that there’s no pre amp involved in a DAW. The pre amp is your audio interface which controls the input level. 
You could turn the tracks Gain right off and your input level of the audio you are recording will not change. 
Once the audio is recorded or in the case of the output of a VST instrument then the gain can be used to set a desired level of the input to the track or bus channel strip. 

Digital channel strips will usually fall short of the emulation of analog gear. Often making things worse not better. 
You want great analog sound then purchase a real studio mixer like a Midas or ? 

The pro channel is just as David said another place to put effects. It differs in that it comes with modules you can use that are easy on your CPU. You can drag them up and down to try different things. You can save pre sets etc Its a handy tool that keeps things tidy. 
The inclusion of the Concrete Limiter in Sonar has made my day.  

Therefore the reason I use a dynamic  mike that is a world class leader in rejecting background noise. No real need for a vocal booth. My studio is well treated and dead as a doornail. My computer is very quiet. 

Even in well treated rooms I found the highly sensitive nature of the LDC mikes picked up everything. I make a LOT of noise when I sing, breathing and my lips smack. It's horrible. I also found all my years of perfecting a mike technique went out the window. Moving in and out on a LDC made little difference  And my quiet computer became real noticeable. I had to build it a isolation box.  These were all good highly recommended  mikes and overall  they sounded great. But the artifacts from my voice did not play well.  The dynamics of my performance then required much more editing and EQ. I think I only bought a couple of them the others I borrowed. I used them for my acoustic instruments but they were sold off to purchase other toys. I kept this  one Made by CAD, I like it a lot on drums. 

So don't rule out that the perfect mike for you isn't dynamic mike. I guess it wasn't the Beta 58 but there's no shortage of good quality Dynamic mikes in the world. Possibly you could find one with a similar EQ pattern.  My music store will let me try stuff out as long as I put a wind sock on it. Most music stores have a Iso booth you can use and will set you up with a small mixer. Bring your own headphones that you trust and even take your currant mike. Last time I did this I was testing small mixers to see which one had the best reverb built in.