Glenn Stanton

not sure, but not an issue for me. when i open the PRV i see all the MIDI on the track regardless of number of clips or takes on that track. so it's later that if i know i'm going to copy the MIDI onto another track, i'll select the clips, bounce to clip (almost instant) and continue.

these ideas might be useful in your next project if you have a lot of automation and won't use the offset methods on the tracks with automation. calibration is straightforward - get an inexpensive sound level meter (i bought an older Radio Shack digital for $25 off ebay) and i set my main monitoring volume to 0db, and adjust my amplification and OS sound settings to get to 75db. then a prefader send to the -12db monitoring buss. simple to do a quick switch between the two. and of course the main one can be adjusted as needed. it's important to note: i have templates which i use to get all this set up before i start a project so it's already built-in for me. i recommend the same for you - create templates to set up your "standard" routing etc. i use Ozone 10 EQ and Maximizer on the master with the option to use or not on the Print buss (file export).

most times i start with volume controls set to -6db per track and -3db per sub-buss. then adjust my gain to get somewhere around-12db (using clip gain as needed) on tracks and busses, while keeping my master, with all tracks up, to around -6db. this is before i apply compression/expansion on any tracks or busses. this is a bit "hot" but good for mixing (i use a calibrated 75db level on main monitor buss and also 63db on -12db monitoring buss) and then easily adjusted to accommodate the target export levels later. another reasonable tactic - set a lower monitoring volume and add a noise track with -18db mono pink noise (use a plugin or an audio clip). then raise each track until you can just barely hear it over the noise. one track at a time (mute the already raised track). then unmute all. you should now have a pretty good set of levels to start with - then work out the clip gains to get those individual levels approximately equal and get to a decent static mix.

in Windows 11, if you want to reduce the hibernate file and keep fast start, or simply delete it, running your cmd window as administrator: reduce (e.g. 10% of memory) delete:

the challenge with the gain control to shift volume on an automated track (presuming overall level change) is the impact on effects or other gain staging impacts (over / under drive - undesirable clipping / loss of the saturation effect). so, for large overall change -> use offset mode, for small spot changes -> more automation envelope edits 🙂 use the clip gain envelope as a "pre-compressor / expander / de-esser" function (etc) to get the consistency on the clip levels.

is this for live performances or recording? if recording, the advantage of 6 separate channels would be to create multiple instruments (like string section) to perform the "chord" or small runs integral to the piece, and keeping it all in sync without "overdub". i'd probably go with option 1 - simpler and cleaner. i've done some recording (and some live stuff) with people using expensive guitar MIDI gear - and ultimately, when recording, the challenge is getting a clean MIDI performance (even folks with great touch) to avoid errant notes. most times, we're simply resorted to using the guitar audio and Melodyne to clean up and convert, then split as needed across tracks. live performance - most times you're outputting audio for the audience so the synths (yes, a number of people use several chained and i guess the VSL could do that as well) to get the full set of sounds -- but it requires lots of prep to get all modules and program switching etc setup (and the DAW can help or using other programs to coordinate). will be curious to see what other folks have experienced.

W11 is fine for use. like any OS there will be things you want to tweak but un general, my W11 (home) is working just fine for my DAW and my design work with very few changes - mainly turning off unneeded services and setting my A/V exclusions. occasionally using airplane mode when some plugins seem more impacted (e.g. Waves Abbey Road Chambers seems to be in this category) and thus reduce any network interrupts.

airplane mode is your friend. it will eliminate the wired network, wifi, and bluetooth connections which are often the main instigators of interrupts causing glitches. i'm currently running an HP Voctus laptop w/ W11 home, and honestly, i had pulled out all by "DAW strip-it " scripts to do what i have done in the past, but i ran a bunch of projects that normally would have problems, and nada. they just worked. so i just shutoff some the spyware type "services" and set my A/V exclusions, and most times don't even bother with the airplane mode except if i'm using some plugins which seem to be hogs and thereby are impacted by the networking.

the FF products are very nice and when using discrete effects vs channel effects or other combined effects - are one of my first choices. just got the R-2 a few days ago but have not used it yet but i like some of the new controls (or the idea of them 🙂 ) so i bought it. have a few mixes coming up which will use a fair amount of reverb effects so i'll be trying it out.

it does seem odd to compare niche tools like RX and Ozone with FabFilter - and i guess even the Nectar tools are generally a different mindset as opposed simply using discrete FabFilter EQ, Compression, and Reverb tools. i don't use Nectar often as it's simply too much stuff to deal with (same for some of the Slate presets - too much sometimes) if i need simple (like one or two things). but for complex sets of effects, it is handy in those rare cases where a number of layers of tweaking are needed. the RX and Ozone tools are (imho) very much focused on what they should be doing - fixes and mastering.

correct - the answer is to save it as CWP (normal project file) then rename the CWP to CWT. if you were to check the content - the regular CWT file does not contain the image MIME data in the front of the file content. whereas the CWP does. ergo - save as CWP, rename and voila!

Kontakt View -> Outputs (F2)

maybe re-check your global output section settings - maybe a channel or the instrument volume is cranked causing the distortion (as witnessed by red input light on the PC EQ). i know when i set up my generic template, i started w/ 16 blank instruments, then set the outputs to match # of instruments (16 stereo outputs), and set MIDI assignments for each 1-16. then later replace those blank instruments to create a specific template: guitars, basses, pianos, strings, brass, percussion, woodwinds, etc etc which each having one or more instruments of those types. this has resulted in very clean and consistent Kontakt setups and i just load the template i want, remove ones, or combine them etc

after checking the Kontakt setting (as above ^^^) and if it's still distorting, check the CW track gain settings - use enable the Pro Channel EQ to see if the input light is turning red - overdriven - and the turn the gain down until it's maybe slightly yellow or green. generally your track meters should show it, but sometimes not. make sure nothing else on the track (e.g .compressors with makeup gain turned down and a high input level can add "colour" (distortion) to the track as well) is the cause.

so (long ago - 1984-85) my family dog passed and my brother was very upset with it and really down. so i wrote this song to provide some hope and acceptance of the situation. originally i started this new version with lot's of instrumentation and some different genres (pop, acoustic, reggae, and a couple more), and finally decided to reduce it to a cadence using 7 instruments (upright bass, tambourine, piano, cello, electric guitar, acoustic guitar, organ) and the vocals (1 lead and 2 backups). still deciding on the solo section before or after the second verse or not - i like the "get me to the chorus" timing as-is, then solo, then 2nd verse, but i'm open to ideas. 🙂 ------------------------------------------------ BPM 82 Key C ------------------------------------------------- i know, you feel sad i try to understand sometimes you feel like crying i know, we work hard i try to understand sometimes you must keep trying we walk together the time is here we walk together, oh you and i i know, you feel bad i try to understand the parts in life, that were happy but i know, when it's good then it's understood that all the right things are gonna happen and when it rains, it pours but then the sun will shine the children play we couldn't change it if we tried we walk together the time is here we walk together, oh you and i and i know yeah i know that when we've done what's good then the right things are gonna happen

yeah, there's nothing magickal there unless you need someone's sheet music 🙂

if one changes "inspector" to "MIDI controller" and it becomes more clear as to the relationship 😉 some things are and can be controlled in the MIDI itself (and depending on the "player" ability to respond to those embedded signals) will determine the outcome from a MIDI perspective. otoh, the "MIDI controller" is, erm, still in control within the DAW and it's controls are being applied throughout the processing.

EDIT: i forget to answer the question - yes, for me, it works and is good! 🙂 i'm sure there are issues (as i'm a member of the .org site forum) but none which seem to affect me. couple of considerations: muscore.ORG is the free software. musescore.COM is the paid service for accessing sheet music. MuseHUB is a painful experience which let's users install all kinds of sounds and effects and things to clog up your computer experience (at least based on all the complaints on the musescore.ORG forum). NOTE: Musescore 4 is free - not paid. whatever you buy on the .COM site is a service which uses the free software. so, if you aren't going to use those services, just install the free software. you can always buy the services later. i have only installed the free MS4 (which as a product is still a work in progress but sufficient for what i do - YMMV) from the musescore.ORG site. MS4 supports VSTi so you can use your instruments (like Kontakt etc) directly. in general, i import / export MIDI to / from Musescore 4 for rendering the score, editing or creating a score, and exporting back to MIDI to bring into CW (or other apps like Toontracks EZ, Scaler, Synth V, etc for more edits, seeding, and / or rendering to audio in those products). so - composing in MS - generally good, unless you have some of the more esoteric markup, then you may find issues although the folks on the musescore.ORG forum are helpful. export to MIDI - and then expect to adjust once you import it into CW - tempos possibly etc. mapping to the instruments, CC's and articulations for realism, and so on. templating the instruments in MS and a CW template so you can readily move things to the right place is a good idea. as i seldom have more than 30-40 MIDI tracks, moving the imported tracks content only takes a few minutes because i ensure things are labeled properly. some prep work is a good idea esp if you plan on 80-100 instruments.

ah, so first - disable the RealTek ASIO - as it is possibly one of the worst drivers anywhere... do not remove it as it will only reinstall itself - disable it and all RealTek ASIO related drivers.

too much typing (for me) using the site specifier syntax. i like Ctrl+F on the CW manual PDF or simply a Google or Bing search. sometimes you get responses which include sites like Mix Like A Pro, etc., some mastering sites, etc. so i try not to limit myself on broadly searching for info.

you need to check your Windows settings for recording and playback devices and set them to the same setting as you would use in CW (i.e. 48K). any projects which used a different rate (like 44.1K) need the audio files to be re-sampled.

yeah, my $50 VHS player would cost $350 now. so i'm keeping it 🙂 guessing that since they only need to make like 100 of these per year, the scarcity has driven up the prices... 😮

i think you'll want to buy a VSTi that can do it then. i don't have any other suggestions.

i think around Windows 95 time frame 🙂 there's really only a few restricted ASCII characters and you only start to experience weirdness when you are trying to use [Windows] unsupported Unicode or double-byte languages. it used to be a coolness factor to using "invisible" [unprintable] characters in file names, passwords, and text... not so much if you value your workflow organization.

EasyCAP drivers for Windows 8, 8.1 and 10 | Visser I/O? https://visser.io/2015/06/easycap-drivers-for-windows-8-1/ DVD will be inherently more stable than VHS so any capture software trying to adjust for variations will likely struggle. i'd suspect more pro level / hardware capture tech could offer some benefits as you really want the capture to be as good as possible before making adjustments. as a note: i haven't tried any VHS capture in about 7-8 years and using my old Happauge card with a consumer deck & videos from late 1980's and early 1990's results were mediocre at best.