Glenn Stanton

since it doesn't happen when you place the region fx on the main track, but does happen on the unmuted and muted take lanes (which is why you see two (or more) unmuted sets of blobs, i doubt this is an ARA issue as much as it's something that wasn't seen in a mono version of Melodyne and rears its head in polyphonic versions. i.e. when the region fx is applied to a take (which physically is a snippet of audio in a long WAV file which the UI displays as a "clip") -- if the information passed to the region fx is not aware of the clip mute/not mute status in that level of operation - so it seems that either Melodyne is choosing to ignore the state, or CW is passing all takes aligned to that clip.

yeah, that definitely seems like a bug -- the take position data seems ok but it's muted status is ignored so passing both takes... does this also happen if the Melodyne is applied to the main track or only when its in the take segment?

under $200 - Steinberg UR22MkII and not under $200 (usually) the Steinberg UR24C -- in my experience these are rock solid, well built and very clean. that said, i also use the UMC202HD and UMC1820 as my main IO units now.

try to keep your plugins into "standard" locations and then make sure those locations are in your CW plugin scanner directory list. almost all plugin installers (and install instructions) will want to place plugins here: C:\Program Files\Cakewalk\VSTPlugins C:\Program Files\Common Files\VST3 C:\Program Files (x86)\Common Files\VST3 C:\Program Files\Steinberg\VstPlugins C:\Program Files (x86)\Steinberg\VstPlugins any number of plugins will default to the Steinberg folders... so acceptance is ok... 🙂 then C:\Program Files\Cakewalk\Shared Utilities\Internal (Channel tools and some older CW plugins) plus maybe the %localappdata% directory one (not sure what was put there, not by me 🙂 )

i use the AD2 Jazz Brushes. or just play them myself (i play with brushes a lot, but not so much for recordings). if not for the EZ3 or AD2 brushes, i'd do like John suggested and make your own samples. it's really really hard to get authentic brush performances (really they're effectively "noise" by design - which in and of itself is cool since you can use brushes in anything from 20's Jazz though EDM)

popularity has its price - i'm guessing a large number of people want a "live" Melodyne version... i'd like a version where i can use my keyboard to assign notes, but i'm ok with it working as-is for now as well. plus, i have several "live" pitch products i use for "fixing" things on the fly to test if a take is worth keeping or not, or the singer needs some confidence 🙂 (and if the side effects of pitch correction aren't too bad, then i know later in the editing process, things will likely work out).

yes. while they experimented on us to produce the best DAW in the world! mwah hah <fades to cackling in darkness> 😵‍💫

maybe troubleshoot the Melodyne issue? i have the studio version and multiple tracks with polyphonic instruments converted to MIDI - no issues over the last 4-5 years. so maybe there is some settings (like A/V exceptions? separation folder permissions?) which are causing it? one note - i'm running 44.1/24 and just noticed you have 48/24 - i've done 48/24 and used Melodyne without issue but it's just one thing to check - alignment of all devices and software to use 48/24. shouldn't impact it but also worth checking.

when exporting MP3 - all FX & etc + best rate possible (usually 320K) and Pow-r3 (if i'm posting to something with a maximum size (like 8Mb) then i may resort to 256K) when exporting tracks or stems to be reused in another mix - no FX & etc and whatever bit rate (for me typically 44.1 or 48K) and 24-bit or 32-bit float and no dithering. when exporting 2-track mixes, all FX & etc for the raw mix - with the Pow-r3 dithering; and for the mastering mix - no dithering applied. one interesting feature of Ozone is to listen to the effects of different codecs & bit rates and hear what is being removed. it's a good way to check mixes that are going into MP3 / AAC formats because it does affect the mix (like masking frequencies do).

Wifi definitely has more interrupts going on than Ethernet simply because of the way it works in terms of using multiple sets of connections to establish speed. one downside to using "airplane mode" to turn off Wifi is any apps that use the internet (A/V, OneDrive, Drive, Box, spy-ware, etc) almost all of them keep trying to communicate or at the very least "test" the connection -- so if you're going to turn off your Wifi, also pause or quit those apps as well (or boot into a "clean" profile).

and esp if you don't have A/V exceptions for the CW (and any related apps and folder) as the latest MS defender is not only trying to "cloud protect" you but also then uploading to the Internet while scanning all kinds of possible "signatures" which eat the disk IO alive. by adding exceptions to CW, Melodyne, and other apps and tools, even with the network on, my load times are very fast - 2 second for CW to load and about 5-10 seconds for most projects (unless i have a lot of Kontakt instruments to load, then 20-30 seconds for 5-8 instruments and about 6gb of their content).

moi? 😏

as a note: 32-bit float cannot be "digitally" clipped - true, but you can definitely overload the ADC devices prior to that... so the idea that people won't get distortion isn't true - partly due to the quality of the converter but also the input signal to the ADC and any pre-ADC processing...

whale farts. look it up. prove me wrong 🫠

so which is it? the BW files are going where they're supposed and mimic the positions in the original DAW? __OR__ they're not going to the right place and there are unintended gaps between them somehow?

and for me, it was always 48K which was what i used for a number of years until i discovered many sample libraries used 44.1 and sucked at 48K settings.. from our friends at Wikipedia: Protocol specifications S/PDIF is used to transmit digital signals in a number of formats, the most common being the 48 kHz sample rate format (used in Digital Audio Tape) and the 44.1 kHz format, used in CD audio. In order to support both sample rates, as well as others that might be needed, the format has no defined bit rate. Instead, the data is sent using biphase mark code, which has either one or two transitions for every bit, allowing the original word clock to be extracted from the signal itself. S/PDIF protocol differs from AES3 only in the channel status bits; see AES3 § Protocol for the high-level view. Both protocols group 192 samples into an audio block, and transmit one channel status bit per sample, providing one 192-bit channel status word per channel per audio block. For S/PDIF, the 192-bit status word is identical between the two channels and is divided into 12 words of 16 bits each, with the first 16 bits being a control code.

some thoughts - if you close the project first, wait until the start screen re-appears, then select File -> Exit -- any difference? - what is your audio driver? it's possible that CW is not able to close the audio "connection" or reset it and the exiting simply leave the process running even if the UI is closed.

next $10M hit = $50K microphone -> 384/32-bit IO (captures even the nose hair resonances), double 64-bit processing with 32-bit storage, output as 384/32 and finally posted on Spotify as 44.1/16 320K MP3 and listened on a shared pair of AirPods (each person gets a left or right channel...) on a subway whilst texting with five other people on a party chat, then switching after 30 seconds to some other song... 🙂

thanks! i have a plan: make the drums less busy, tweak some of the vocals, redo the guitar solo - i thought i'd like an "angry" finish but no, going back to the cooler one, and redo some of the vox compression as it's too harsh the way i did it (i didn't follow my normal use a template process as i got too engrossed and thought i'd do it later... i may still just export the tracks and open my mix template and just get those things done - better reverbs, etc). on the drum busyness -- i had thought about cutting it back but i sort of like it during the solos as it adds some acceleration without a tempo change. but in hindsights it's a bit over the top for this version...

another a relic revisited - a modern blues number about where lies the blame when loving ends. of course feel free to comment. ------------------------------------------------------- 94BPM D Major i can't believe what i hear you saying i don't know what's a lie or what's true you thought you had me fooled with those baby blues who's fooling who i felt like you wouldn't have it any other way you didn't care if i cried or if i'd lose you thought you had me fooled with those baby blues who's fooling who what's the name of the game? is it always the same? you lose 'cause if it is, then i'll just win i take as much as i give who's fooling who [solo] i felt like you wouldn't have it any other way you didn't care if i cried or if i'd lose you thought you had me fooled with those baby blues who's fooling who [solo] i can't believe what i hear you saying i don't know what's a lie or what's true you thought you had me fooled with those baby blues well now, i'll tell you who's fooling who

all it means is if you have a 24-bit IO and record at 32-bit - your lower LSByte is all zeros. when you add processing in 32-bit effects, then those bits may likely become populated. so it's just s wasted space if you only use 24-bit IO and plug-ins. and of course trying to playback 32-bit on 24-bit IO (or apps) means you're truncating the LSByte which may produce noise...

How do I report a problem with a Cakewalk product? - Frequently Asked Questions - Cakewalk Discuss | The Official Cakewalk by BandLab Forum Better problem reporting: How to capture a crash dump - Frequently Asked Questions - Cakewalk Discuss | The Official Cakewalk by BandLab Forum

maybe it needs some cowbell and/or congas in the [disco] bridge 🙂 during one of my Amsterdam trips, i was playing some guitar in my hotel room with the TV on silent. and of course one of Europe's most beloved series "Baywatch" came on, and it was an episode where the main character was holding a drowning victim and feeling despair / anger but no back story. so i created one... sort of. comments welcome. 106BPM E Major ----------------------------------------------------------------- barefoot on a rocky shore along an ocean of scars tears wash the soles of our feet beneath the light of a million stars it's these experiences that we share that bind us in love caught in the undertow it won't let me go finding it hard to breathe but that's alright by me 'cause she's like a beacon high shining down on me and me like a lonely sailor drydocked lost at sea and this irresistible drive keeping you and me alive feeling love love love caught in the undertow it won't let me go finding it hard to breathe but that's alright by me 'cause she's like an angel high watching over me and me like a broken sinner bent down on my knees and this irresistible drive keeping you and me alive feeling love love love [solo] ahm-------- yeah we're floating oh yeah we're floating {kiss} your lips scorches me like a thousand degrees yeah we're burning oh yeah we're burning {hearts} our hearts beat as one in a slow dance embrace yeah we're yearning oh yeah we're yearning {call} you call out my name with one final breath you say ahhhhh caught in the undertow it won't let me go finding it hard to breathe but that's alright by me 'cause she's like the shining crown reigning over me and me like the healing faithful bowing on the streets and this irresistible drive keeping you and me alive feeling love love love caught in the undertow it won't let me go finding it hard to breathe but that's alright by me barefoot on a rocky shore along an ocean of scars tears wash the soles of our feet beneath the light of a million stars it's these experiences that we share that bind us in love

@Milton Sica - no i was not able to reproduce it

the SHIFT forces a horizontal or vertical lock on direction so if you want the copy to stay aligned with the track or the time bar, adding the shift while copying is useful.