marcL

That's 21st century software ! 😄 No sincerly, I feel that a lot of software from medium and large companies got definitely worse in the last 7-10 years! For each fixed bug there are 2 new ones, the software gets slower and requires much more space. Where is the improvement for the customers?

I recommend the Kuassa amp simulations, too (also for Bass). Their microphone/speaker emulation is top-notch IMO! Better than many others and the plugin authorization is completely offline 👍!

I'd liked Abbey Road Brilliance Pack, but still too expensive for me! 😢

It seems that you have never been frustrated! 😆 In general it makes me sad when I read how people react to someone who is desperate! 😢 Most of the comments above are misplaced IMHO. There is almost no helpful comment in such threads! Where is the helpful, positive spirit that some of you talk about? I cannot identify something like that above! It reminds me more of the Middle Adges when people where calling to cut off the head of the accused! But YMMV!

In this case I do not update! 👎 In recent years there have been so many updates that only stole my time and my computers resources! 😆

Do they still not support offline activation?

Tantra? No, not at all! I would even prefer an Opel Mant(r)a !

BA is also needed for offline reauthorization! 😉

PA seems to make it really difficult to use their Loyalty Vouchers, if almost all of their deals are $29.99 or too expensive for me! 😟

This is exactly the reason why nowadays I tend to prefer plugins/software that have a real offline (without any online junk!) authorization, like a key file, an offline key, no auth or a registration key. But if a company plunges, then even iLok is better than other machine authorizations (as long as Pace lives 😆)! The worst is like Cakewalk, Magix, ... that even require periodical reauthorization! You know what happens if those companies ...

This is a very excellent ascertainment! Though you can see it from another angle: There is software and software, there are developers that always require a Ferrari to run it and there are others that let you run their software even on an old ford Anglia! I had almost no crashes or even freezes with Sonar and CbB. But I noticed that there are things that need more power compared to other DAWs (e.g. the one that I don't name, 'cos I know that you don't like it and just make ridiculous comments about 😆). For example if I did long (loop) recordings I recognized that CbB suddenly begins to have drop-outs. With the other DAWs that I own it did not happen on the same PC! But I could fix this issue mostly by only using a SSD as target for the project. Another thing are projects with scores of clips/takes, it takes much more power if you are using CbB. Though I avoid doing to much in one single project, i.e. I am used to have a couple of projects for each song (1 for each major task). This clearly reduces issues. Still I do use CbB as my 2nd DAW, because I prefer the design of some things. Also I have most insight and experience (probably not as much as some of you) with CbB compared to other DAWs.

Yes, I think Steinberg and its Q-Bass is more for people like @Bapu !

Do you think the Germans that were bombed by the Allieds in the 2nd World War did all support Adolf H.? Or even each soldier of the German Armed Forces? This is the collective responsibility of a people that is punished! Is it right? I don't know ... There is never justice in wars!

You should have watched the video!

The same happened to me when I had to fix my laptop (change Windows license). 👍 There is the advantage with iLok that you know how to do things, whereas there is a Tower of Babel with (other) machine authorizations. 😟 But still I prefer authorizations like the former PSP one that do not require online access (Acon Digital, Audiority, AudioThing, Black Rooster, Boz Digital, Cockos, eaReckon, FuseAudioLabs, Harrison, JoeySturgis, Klanghelm, Kuassa, MeldaProduction, TBProAudio, Toneboosters, ..., you see there are a lot!). Real offline authorizations are the most safe ones, also in case a company vanishes or is bought out, or if you cannot update to a new system. These days I mostly buy plugins with real offline activation to protect my investments, as I have enough others that are more cumbersome to handle!

Nowadays when I do loop recording I set an additional punch region that is smaller than the loop. Then I try to stop outside of the punch area. Like this I can avoid the annoying random splits!

Thanks, I understand your technical explanation. 😊 But I think as a user you expect that an export of a mono clip results exactly as it is! It is also interesting that if you select the clip (section) and its track, and export with source category Tracks, then the clip gain is not increased. But like this it's impossible to use the clip name pattern in the export file name (you can, but it is empty).

Thanks for fixing this that quickly! Regrettably there is still the issue that the volume of MONO clips increase with +3dB when using export Source Category Clips! Like this I prefer using Source Category Tracks (as before the new export dialog), because there is absolutely no volume alteration for mono clips. Thus I abandon the use of {clipname} and enter each file name manually as in the good, old Sonar! 😆

Don't you know that this is evolution? The progress of VST3! I hate VST3 more and more!

I have a mono clip and mono track (interleave mono). Unchecking "Track Automation" results in a +3dB increase (about) in the export! But when it is enabled only the track volume is added! Strange! In the past I always used SOURCE CATEGORY Tracks and like this the volume is correct (true for the current and for older CbB versions)! But like that I cannot use the clipname place holder!

First thanks for your explanation! This sounds logical for me, too. 😊 The only 2 things that I don't understand then: Why did the track volume change the clip loudness in my case? Nothing from the track should influence the clip export, right? Why are the track/bus settings displayed selected(enabled) if they are irrelevant (to me it would seem clearer if they were deselected)?

Finally I managed to use the clip names for export. First I had some trouble to understand the hidden logic! 😉 But now there is a new obstacle for me in using this helpful function: If SOURCE CATEGORY is set to Clips, then the track/bus settings are all enabled and locked. Does anyone have an idea what is the sense behind this ??? First I had overseen this, because the MIX AND RENDER settings were closed by default! This means that all the clip exports that I did the last days may have a wrong volume level. This will cost me minimum one day to fix, because I had done a lot of bouncing with those clips and this means I have to redo all that stuff! Damn! 😡 Anyhow, IMO the old dialog was simpler and better laid out, though it did not support naming with place holders. There was less risk to oversee/forget something, especially when using presets (as I did)!

This is an issue that I have often when I create/adjust a crossfade in a take lane (had it just yesterday). It drives me crazy! Most of the time I can handle it by copying/moving the particular clips to a new working track (with only 1 take lane!) and then bouncing one of the clips before I do the crossfades. Sometimes a project close and reopen helps. Other times there is almost no way, i.e. I have to do the edit outside of CbB! A lot of people say that CbB is much more bug-free than Sonar, maybe it's true for a lot of things (mixing, recording, MIDI). But in respect of clip editing I don't agree at all! There are so many bugs and hassles there. Just this morning it kept me busy! 😆

Most of my projects are utterly slow-moving. It would take 200 years to bring them to a successful end! I think I have been a burden for this world since I was born! 👎 I do not wonder anymore if almost everything goes wrong in my life. But at one point you have to accept the truth! 😉

For a little bit more you can do all of this stuff with Reaper. And you get much more (a whole DAW). IMO Batch Pro 2 is not worth the price!