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mettelus last won the day on January 28
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Be sure to match your intended arc to the rollers, then adjust the steps accordingly. The D and G strings are not on the highest point on the arc, they straddle it +/- roughly 5.2mm for that 52mm spread.
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Thank you. Your insight into the history of things is always insightful. The open API point I have taken notice to over the past several years. It seems that programs with open API/scripting functionality tend to have a slew of community members actively contributing to the application development, and some of the work those folks have done on their own time is truly impressive. It is always a good sign when apps have menu links to a user add-ons/scripts repository that has been developed by the community (I tend to search for this specifically anymore). Cakewalk has always had people doing similar in the background, but never quite embraced them in that manner; those tools are often littered about in the forums and easy to miss.
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Be sure to look at the manual on that MB. The SATA connectors are actually a mish-mash, and I had the P8Z67 in my 2600K. The 2 Grey ones can reach SATA 3 speeds (6Gbps), but the 4 Blue ones are SATA 2 (3Gbps). Those are described on pages 2-21 and 2-23 respectively. They will still support SSDs (your better option), but you will not be able to get anything close to NVMe speeds even with a connector. It is also preferred to plug the two most-used drives into the Grey SATA connections on that MB (C drive and the most used program/data drive). A quick check on that manual seems setting the two grey ones to SATA 3 will disable 2 of the Blue connectors, but I forget offhand. I am "assuming" that external SATA port is a SATA 2, so again the data speed is going to be limited to 3Gbps and an SSD would be better bang for the buck. I carried a 3TB spinner HDD forward from that machine for backups and use external HDDs for backups as well, mostly because SSDs tend to catastrophically fail when they go down. I have not had that happen (yet) and their longevity has gone up substantially, but it is something to keep in mind for backups.
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Thanks for chiming in Alexey. Every time Annabelle posts I can rarely help one iota, but it often sends me on a fact-finding stint regarding accessibility. Most resources I find are older (and reference 8.5 or Reaper), but this is the first I have seen reference to OSARA. Is that a simple add-on installation or are there any other hoops associated with getting it online? I have only used Reaper once years ago, so totally unfamiliar with the nuances of it, but admit that it never falls completely off the radar because of ReaCWP. My concern here is for steps Annabelle should be aware of rather than just sending her down a blind path that you "know is not that easy." (No offense intended toward you in any way here).
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Sonar Legacy to Bandlab back to Sonar Legacy
mettelus replied to Joseph Ballew's topic in Feedback Loop
Without other details from the OP there is not a lot that can be specifically done, but for finished work you want to be able to open in (any) DAW in the future, they should have broadcast wav file exports done on stems (both with and without FX baked in just to be safe). Offloading the tempo map as a MIDI file is also advised. With both of these done, you can load/import into numerous DAWs without much issue. Some features just disappear on load (like VST3s if you open them before X3), but there were a few features added that make the cwp file unreadable if you go back far enough (like Aux Tracks/Patch Points). Stems/Tempo maps are universal. -
I was just telling someone last week that Blender is probably the most powerful free app out there, with DaVinci Resolve running a very close second. For those not familiar with Blender, it is an incredibly capable 3D rendering program BUT it will intimidate the crap out of new people as many things are not intuitive until you actually do them. For new folks, this Blender tutorial series is exceptional (and relatively short), and walks through a lot of the major components of Blender. He has redone this with each major Blender release and touches upon a lot of tips and shortcuts that are most commonly used along the way to making donut(s). If totally new to Blender, I recommend starting with that series and then other tutorials you watch will make more sense because you can understand what they are doing (not a lot of tutorials say/show the shortcut keys being pressed as they bebop around, so they can just confuse you further). Side comment: you will very much want a mouse with a middle mouse button (many mice with scroll wheels have a button if the wheel is pressed)... Blender is one of the few apps that almost relies on the middle mouse button for tasks. Although you can alter the app to set ALT-left click as the "middle mouse button," having a real one is highly preferred.
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I think what the OP is requesting is also a bit more involved. The functionality of the chord track also includes manipulation of chords, inversions, or changing keys entirely (even to the audio material in all tracks under that chord). From my experience with Studio One, it seems that SOP is very much leveraging Melodyne algorithms to impart this functionality, but it has yet to be implemented in Cakewalk. Working with audio material specifically (loops or similar) that is in the wrong key, but "just snaps" to the chord it is dropped under is a bit more involved, so there isn't a work around for this request; it really does need to be implemented.
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I find it ironic that you mentioned both of these. Reason being is that early on in my learning, the power went out (which only happened once when I was at USNA, which is a government facility and never should have happened as the backups failed as well) so I was left in nearly total darkness for over an hour (the rooms did not have emergency lighting, only the hallways and stairs did). That single "Act of God" did more to kick start proficiency than I ever would have suspected... suddenly I was blind and could only rely on my ears and proprioception/kinesthesia (sense of body/hand positions and motion) in order to play. I learned more in that hour than in the prior two months combined because of it. Over a decade earlier, my piano teacher had said "stop looking at your hands" and pulled the key cover out over everything but the very tips of the white keys. That power outage made me chuckle immediately and I said to my room mate, "Stop looking at my hands, aye" and kept right on going. Just turning off the lights at night and intentionally playing in the dark can give a massive boost to skills/senses that truly need to be developed rather than relying on one's eyes.
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Barre chords on even an electric can be taxing, so upping the tension with an acoustic just adds to the need for hand strength. Lighter gauge will lower tension (and action) a smidge, but if you are not familiar with doing mods, it is definitely preferable to having a luthier modify things like the nut. I sent @Grem down a rabbit hole replacing his fret nut on a kit he got [we still need a final build version of that guy BTW (I think, I might have missed it)], and he experienced something I never saw or even expected... that nut had been glued in with so much glue on three sides that in broke into pieces taking it out. If the play-ability is already an 8 or 7 from your perspective, the hand strength is probably really it. Most people quit guitar because of the time it takes to build callouses/strength, so just keep that in mind as you go... be sure to stretch hand muscles and give yourself rest periods as you work things out.
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Another quick comment, since I have seen fret nuts too high on enough occasions to mention this. Another way to deal with string tension is to tune the entire guitar a half step down, then work one fret higher for what you are doing now (that will address tension, but not action). If the nut itself is too tall, you can also put a capo on the first fret and tune that to standard tuning at the first fret (guitar will still be half a step down) which may address both fret action and string tension. Again, you would need to play one fret higher than you do now for the same results. Depending on guitar model, truss rod adjustments may be possible to accommodate fret action for the the string gauge used, but that is more something to mention at this point.
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This is sort of subjective, but may have impact as you go up the neck with barre chords because it can throw intonation off (and become significantly harder to fret the barre). You also want to use the side of your index finger rather than face, because it is more bony and will fret the barre better. The basic barre chords are pretty simple. E/Em is the open chord using all 6 strings, and A/Am is the open chord using only the top 5 strings. If you barre where the nut is, you can transpose that up the fret board by shifting the root (where your "cheat F" came from). Power chords just use the bottom three strings from either (same fingering) and get used a lot in music, more specifically because they only contain the root, 5th, and octave (no 3rd), so they have no innate major/minor character and can be placed on top of anything. Back to the first part... if the neck has any bowing, the pressure required to barre a chord may increase a lot as you move up the neck. For Em, you can also wrap your middle finger over your index to get more force. Depending how hard it frets, you can also consider power chord for some things and use a barre chord based on D to do the upper strings as needed. Also, if you are focused specifically on the E barre chord (all 6 strings), you can alternatively tune the guitar to E (or Em even) at the nut to allow you to reinforce your index finger by wrapping your middle finger over it. Em would allow for using the barre more simply (as your ring finger can make it major), but for some songs, guitars have been tuned to E (which makes all the harmonics also in key), just beware to use a lighter string gauge if you do that since you will add more tension to the neck. She Talks to Angels is a good example of a guitar tuned to E (and use of the harmonics for the piece).
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Documentation is one of the weaker areas (although the default GUI seems to be bigger for many). Upside is that most editing content is universal between all plugins so you only need to learn them once for the most part. (Massive) downside is that the learning curve for some of that can be rather steep, so it can be more effective to work on (quasi-) finished material that you know well. When in doubt, driving parameters to extremes (high/low) will "typically" reveal what it is doing (in any plugin), but multiparameters are akin to the modulation matrix in a synth, so those really could use an explanation update IMO. The manuals "as is" re-use content between them, so you end up reading the same thing x times if you actually read them versus reference them. As with many things, the "80-20 rule" applies... you only need to learn 20% of most things to do 80% (or more) of your work, so delving into minutiae can become counterproductive from a time perspective. Silly things (for me) like engaging the Limiter and setting oversampling (where available) to 4X every time I insert a plugin is "just habit" since I never found a place to set defaults anywhere else.
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MCharacter is the most-used "unique" plugin that I own. It performs best on monophonic, dry material before sending things into a follow up FX chain and is very useful for tweaking the timbre at the source. About the 1:40 mark in the teaser video is a good explanation of what it does. I am still disappointed that what is done with the guitar at the 3:30 mark doesn't have an explanation... that uses multiparameters, which are embedded into most of Melda's plugins... they are quite powerful and what distinguishes Melda plugins from others, but they really need another video series explaining them (the existing series is rather lackluster to watch).