Glenn Stanton

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.

you can use an external drive for OS (the boot settings will allow it), but it's not really interchangeable with another machine because of physical component differences that Windows will detect and require activation on. however, the external drive (assuming USB) will be slower than an internal drive and cause more interrupts (like interfering with the audio IO on the USB). one thing i do for my laptops - i swap the DVD drive socket with my OS (the DVD drive is the slower speed connection in most cases) and put my content / project disk into the primary slot (faster, sometimes 2x faster). (also -- all SSD drive). then i have a couple of "low usage" external drives for my cloud content (i only sync to the cloud drives not operate with them directly to avoid USB interrupts and file contention) and archive, downloads, etc type content.

things to double check: - A/V exceptions for Cakewalk.exe and the sound reference ID apps (make sure MS defender isn't "protecting" you from your apps. - sound reference ID set to virtual driver vs APO (i've found the virtual setting let's me switch it out in my CW preferences whereas the APO setting seems to take over the IO interface and no option to bypass it) - re-run the redistributables for CW and the sound reference installer (i've found that MS likes to install all kinds of fun stuff in MS Edge and hot fixes for critical security and things get weird afterwards)

"as far as i know" AFAIK

it's not capacity - it's lifespan. the memory used in USB keys degrade over time and also poor connector quality can cause headaches with the Waves licenses (not exactly sure why). so spend the $40 on a high quality brand instead of a generic $5 or $10. i replaced my cheaper Sandisk one with a high end Sandisk model 2 years ago now and 0% issues.

thanks Max! i seldom use envelopes for dropouts - if i do need it, i usually just split the tracks i need to drop and carve the opening, esp since i seldom drop all tracks - and most times the arrangement is addressing most of the dynamics in the performance anyways. i wan't sure if the quick group could affect multiple volume (etc) envelopes or not. i'll have to try that out as a new song i'm working on needs a 1 beat drop across all 31 tracks and i'm reluctant to adjust the performances...

depending on how tightly these need to happen, one track at a time with automation write enabled to drag down the fader and bring it up. one other option is do a split on the clips start and end, then edit the volume envelope - the cursor sets to the size of the selected clip, then just drag that down. repeat per track. not great but reasonably fast.

one thought - the send levels look like you have them set very low. usually what you want is to hit the effects harder and then use the buss level to balance the overall level into the mix. another tip - have the delay buss do a send to the reverb buss to add some reverberation to the delayed content.

one challenge is when sample libraries (or some synths) only have 44.1 sample rates and the implicit conversion to 48 has (in my experience) caused more problems than not (which is why 2 years ago a reverted to 44.1 after using 48 for a couple of years and dealing with stoopid sample libraries and synths (of which i have too many to re-purchase or convert). but now, once i have everything all settled at 44.1 - windows, synths, samples, etc i seldom run into issues. when i do need to run 48 or 96, it's because i have inbound client files or i'm deliberating recording at 96. in which case, i simply reset to 48/96 on the os, and set IO to 48/96 and i'm good. if i need to add something from a synth or sampler - i use Kontakt as that seems to have the least number of issues with 44.1 -> 48/96 implicit conversions.

you can copy and paste envelopes.