HOOK

37 minutes ago, Glenn Stanton said:

most pitch shifting plugins aren't great in low latency mode. i generally track without any plugins and try to use direct monitoring to avoid any latency effects in monitoring. and if someone needs a bit of reverb, i'll use the mixer built-in reverb... ? then just adjust the recorded tracks by whatever the latency setting shows (e.g. if 5ms or 10ms, then shift things left 5-10ms) and done. i've found it just safer to get recordings without any possible glitching due to plugin overhead or even mysterious system occurrences ? 

I can't even imagine having to adjusting things by hand due to latency.  No way.

I've tracked bands with plugins starting back in about 2005 with a dual Xeon system running Server 2003.  That machine was a beast for the time and REALLY allowed me to finally work the way I wanted.  I certainly know the limitations.  You just have to build a killer machine.  And it's a lot easier to do today than it was back then.  But even with a killer machine, those two plugins tell me to take a flying leap.  ?

I get the visual thing, but I could get over that to a large degree.  For me it continually comes down to long-standing workflow problems where I refuse to change - even if it's just a couple of things.  Some things are too disruptive to accept when I don't have to.

If I had to, I'd probably switch to Reaper or Cubase.  But as they are, and continue to be, Sonar/Cakewalk wins as long as it still  works on my machine.

Because, among other problems, Reaper can't keep busses on top...and Cubase won't pass audio through a channel that's armed for recording - even if it's punch recording.

When you grew up on a DAW that does those things, changing is settling for less.

I just switched to Win 11 and had to get latency under control again....bios and OS tweaks.  Got it.  But it sure is a reminder that a couple of the Soundtoys plugins I use are near impossible to use when tracking with a buffer under 256.

Little AlterBoy & Little MicroShift are both latency machines.

I suppose that's scary if you don't like eating bodies.

Back in the day, I never treated any guitar like I was going to keep it forever.  In the early 90's I'd drill holes in every guitar I had so I could attach Roland GK-2A pickups for the Roland GR-1 synth.

I'm a little more conservative with those decisions these days.

EDIT:   I was wrong.  Now I have a bunch of guitars that I'm keep forever that have holes drilled in them...lol.  Meh...you live and you learn.

But dude.....SUEDE BOOTS!

Man...sorry for your losses.  ?

I can relate.  I want to say it was 1986 that my Dad took me to the store to buy my first guitar and amp.  And I remember him asking the guy there what we should get.  He took us to the Marshall amps and we picked out a Studio 15 1x12 tube combo.  No idea at the time that I was getting a really cool amp.  And I certainly didn't really appreciate it at the time.

Then he took us to the Gibsons.  I pretty much fell in love with a white SG that was there.  Felt and played great.  But then I saw the HOT PINK Guild solid body hanging on the wall for half the price.  And I knew my parents weren't rich...so I chose the Guild because I felt guilty that they were spending the money in the first place.

I've always considered that SG to be the one that got away.

And the Marshall?  I honestly think I traded it at a music store for a solid state 2x10 Ampeg amp.  Because I'm a genius.  ?

The guild as it originally looked:

Many years later I decided to repaint it, get rid of the two single coil pickups, drop in a second humbucker and lose the floyd rose.  We found that the top was made of plywood...lol.  So I had a friend fill the single coil holes and rout out the top so he could lay a chunk of rosewood across the whole thing to get some stability.  Then we pushed that second humbucker all the way up against the neck.  Looks like this now.  Originally a Guild Burnside Blade.  They didn't make a lot of those, and I believe it was built in Korea.  We paid $300 in 1986.  Last I checked it wasn't even worth that now.  But I'll never sell it.  It's still a fantastic guitar...and priceless to me.

Two part question, I suppose.  And at this point only the Cakewalk staff can answer this without speculation.  But it would be nice to know.

1: Can my project and track templates be imported into the new Sonar?

2:  If not, and I have to rebuild them, will setup be 1:1?  As in...say I have the PC76 module in ProChannel...will the results be identical if I manually reset it all in Sonar to match what I have going on in CbB?

I don't recall seeing this asked or answered.  If it has been, I apologize and would appreciate a pointer to the answer.

Thanks.

That's still fewer than 5 mph.  In Texas they don't even look at us until we're a good 20 mph over.  ?

4km....wow

I'd guess that, more often than not, it doesn't conduct electricity.  Which is why pulling the RAM, blowing off the dust, and reseating the RAM fixed your problem.

But I'd just be guessing.

I'm allergic to Calamine lotion. You learn that when you put it on a rash that won't go away until you stop using the Calamine lotion.

15 minutes ago, Sheens said:

thanks Hook, but afaik it's only available for schools etc.

Nope.  $1,500 gets it done for anyone - Ultimate.

$600 for Studio.

https://www.sweetwater.com/store/detail/PTUlt--avid-pro-tools-ultimate-perpetual-license

36 minutes ago, Sheens said:

If it wasn't subscription only, I would be off to Pro Tools.

Only reason being printing in Sonar X3 adds quite a lot of latency imo (even with 64 bit engine (and thus oversampling) unchecked).

Routing / getting a soft synths to work is a pita, Midi view, workflow isn't great, but will be simular probably in other DAWs

Other than that I'm superstoked with Sonar workflow

Luckily for you...they brough back the perpetual license a couple days ago.

https://www.production-expert.com/production-expert-1/pro-tools-perpetual-licences-return

34 minutes ago, Bapu said:

Not that I know of, and I personally see no use for that particular feature. If I want to deal with buses only, I just collapse/hide the contents of the bus in the Mixer view.

?  This is a perfect example of not being able to "do what I want when I want".  The "I" being ME in this scenario.

Reaper also has this problem.

5 hours ago, Bapu said:

2. The fact that I can place buses anywhere in the MIx view lets me do what I want when I want.

Can you make busses live on top and visible at all times - like Cakewalk/Sonar does?

or ALT+Left Click

I've been a Cakewalk user for 30+ years, exclusively.  And with the announcement of paid Sonar again, I downloaded demos for Cubase and Reaper so I could learn them and set up templates.  Wrote and tracked a song in both.  But there are a few things in both programs that I'm sure I'd never get over.   They both ruin my workflow in one way or another - in big ways.  It's hard to break 30 year habits.

I still have both templates at the ready, just in case.  But Sonar it is...unless they broke it.

How's he gonna do that when it's a .bun file and he's only got a mac?

I don't see that you mentioned having the newest drivers and firmware for the MOTU.  There are 2023 drivers here.  I'd do this before spending more money.

https://motu.com/en-us/download/#category=1&product=410

I believe that your basic problem is probably that your kit comes from the factory with midi note 8 (no idea why) on both open and closed HH.  Change one of those to 9 in the drum module.  And then make sure your drum map correlates.  

Have you read this and tried it yet?  Hope it helps.

From Alesis support:

Preparing your Drum module

Notice in the Default Assignments sections above, that the Hi-Hat Open and Hi-Hat Closed triggers both send a MIDI Message of #8 or G#-2. Because of this any software will be unable to distinguish between the hi-hat open and hi-hat closed triggers. Before we can map the functionality of the trigger, we must assign a different MIDI message to one of these functions. 

Press the Menu button on your module, then toggle down to Trigger and press Enter to enter the Trigger Settings menu.

Use the knob to change the selected trigger to Hi-Hat.

Press the Down button and select MIDI Note.

Use the Data Dial (big knob) to change the assigned MIDI note. In most cases, and for this example, MIDI note 009 (or A-2) will work.

From here, you have manually adjusted the MIDI assignment for the open Hi-hat within your module! Your Open & closed positions will be sending separate MIDI messages.

Right about page 500 of the manual should cover what you need.

https://bandlab.github.io/cakewalk/docs/Cakewalk Reference Guide.pdf

You guys got me freaked out.  I'm frantically searching my attic for this in case everything  goes to sh*t.  I know it's here somewhere....