mettelus

Thanks for the response. If you have common plugins between both of you, you would also be able to work in Cakewalk and send the project file and audio folder back and forth as well (keep that folder clean before sending by doing a "Save As..." and saving to a new folder and copy the audio over in the save dialog box). This would take "reaper" out of the loop for the mixing phase, but may be simpler as he has used Cakewalk before. If the focus is helping him learn, this will also let him view mixing stages a little better. Also to the "teaching" end of things, some video conferencing software (Zoom and the like) allow for screen sharing which would enable him to see and interact with you while you are working. There is lag associated with this and often a significant bandwidth usage jump (may be a limiting factor), but keep that in mind as well. When on the final stages of things, this can also expedite the back and forth with what is being done.

A lot of the new pedal boards are pretty self-contained so they need nothing else. One bit of advice a guy mentioned (for a similar board) was that he basically forced himself to learn the functionality (going so far as to take only that pedal board to gigs without a backup). His approach was hard core, but the newer boards pretty much allow you to just carry a guitar and the board with you if there is a sound system available. You only learn all of the features by using it.

Quick rewind to the OP again... It seems you did use stems for the collaboration, but can you expound on the "some challenges" part of your OP?

Unfortunately, the tempo map and broadcast wav file stems is the only "sure fire" way to pass things between (any) DAWs, but azslow3 would be the best bet to try to convert Reaper->Cakewalk. Also bear in mind... there is no guarantee that each user has the same plugins available/used for projects, so even though it sounds cool on paper to collaborate projects with all the nuts and bolts included (even two Cakewalk users), this may not be practical at all (why broadcast wavs are often used anyway). Time-based FX (delays, reverbs, etc.) are the ones you may want not to bake into stems, but if you both have the same plugins an option there is to pass FX preset files back and forth as well as the stems. Save those presets from the plugin GUIs (not the DAW).

I forget the specifics on what causes this, but there have been threads on this over the years. One of the workarounds when this occurs is to start and stop the transport, and then it will allow you to save.

Dupe

LOL, quite true! Tom would be on the short list. But this has already been done several times in the newer Star Wars, Indiana Jones, Terminator, and even Gladiator to either "youthify" actors or outright use dead ones in scene. I am sort of CGI'd-out with movies and seems the general public is swaying that way as well. Flashy effects for lack of acting/script is a terrible trade off IMO. There are so many classic movies I have never seen and is interesting to be pulled into the story/acting rather than outrageous visuals (maybe why they are "classics" 🙂). This one actually strikes a nerve for me, as I consult people often on how to protect IP. Could write a book on this one alone (and then have it stolen, of course), but an interesting anecdote: I once asked someone who works for the US Patent and Trademark Office, "How many cases do you have filed for patent infringements from China?" She replied, "That number is significant." So I said, "Now the punchline... What are you able to do about them?" I got the blank stare back and, "Pretty much nothing." The IP game shifts dramatically when certain players adhere to rules but others do not (and cannot be held accountable).

Just FYI, you are not going to lose the project data in a situation like this. If you are concerned about a project potentially becoming corrupted, you can still save it with a new name to keep them both (keep the original, and save with a new name after a glitch). The Edit->Preferences->Audio->Playback and Recording is good to visit any time you are changing the hardware you are working with. This forces the application to look for what you are trying to use and will let you know if it is available or not. The ASIO mode will only allow one device to be active at a time, so if you disconnect that, Cakewalk has nothing to talk to until you shift modes/select another available device.

I think this is the real issue, as this is the intent of some. Essentially stealing someone's brand and profiting off that is a clear-cut no-no. I knew an engineer who almost bankrupted himself monitoring his patent (IP) to make sure no one stole it... the time/cost of monitoring a brand can be massive unless you are so popular the general public does it for you. Even that article I posted above bothers me because the very first line said "under her name," which made me assume it was her account (no idea). Such things for publicity stunts are not uncommon either. Ironically, there was an old movie called "Looker" that had the premise of models/actors who looked GOOD, but couldn't model/act for crap. The "solution" was to get them to sign over rights to their "appearance" (often by being drugged), 3D capture them, then kill them off. Very eerie how "far-fetched sci-fi" suddenly is falling into the realm of possibility (or already being done).

An interesting article was posted today about Jane Friedman finding fake books "written" by her being sold on Amazon (of all places). It will be interesting to see in the coming years how many artistic fakes get pedaled, and how that will be countered.

Has a new installer been posted? What caught me off guard was 16.08 installed and VST scanned, but I didn't open any projects because I was updating loads of crap in the process (the DAW had removed all Melda stuff in the background). Doing the clean up when re-installing 16.07 was funny because it said "Nothing to remove" at that stage.

I have to backpedal on this one, my apologies! 16.08 installed and scanned with the DAW, but I didn't dig into that deeper. Although all the registry entries took (why the scanner ran fine), the files installed for 16.08 did not. The actual files are, in fact, DOA so not sure if this is a cleanup glitch with the installer. I had to back out to 16.07 as well.

I didn't think about the update part. For things that are individually listed in the CCC, I would just run those installers and not the ones included with SONAR versions. The ones in the CCC are the "final" builds of software that evolved over the Platinum era and self-contained (if listed there). Quick edit: I am "pretty sure" that the converse is also true... if you install DP 1.5, DP 1.2 will stop the installation and say a newer version is already installed.

@scook has quite a few posts on proper installation, which is basically in chronological order. Some of them need the core program installed to use functions (like VVocal) in the newer versions, but I am not sure of the details specifically to Lexicon Pantheon (he just replied as I was typing this). As far as Dimension Pro 1.5... that has a separate installer AFAIK, so can be installed alongside whichever version you choose. There were a few updates to it, but it should still be in your Cakewalk account and available through the old download assistant.

You may want to try rebooting and possibly downloading 16.08 again. I got a message when trying to install that Windows Defender's server couldn't be reached (Eastern US got pummeled with lightning last night), but rebooted and everything went fine using the same download file (is 632,850,328 bytes in size for me).

It takes three power supplies to make a bola. Bigger question might be what are they using those bola on??

I had to look on a PC to view that website because the request to add cookies masked out the site on mobile, so the "shady gypsy" comment stood out right away for me! Those prices are a bit over the top. I actually like "scalloped" boards as well, but I achieve this via the tallest bass frets rather than touching the board. They do require a bit more finesse to play because finger pressure alone will cause slight bends and this is more dramatic the lighter the string gauge is. The range makes more sense for the design now, but when I sit back and think, "Would I ever actually use that though?" the answer is no. The extended fretboard is the only feature unique to that guitar (other than price) that cannot be easily replicated with custom work. As far as the LP/Strat combo, I posted the Super Seven Switching setup I put into my main on the old forum around 2012 (I cannot actually find THAT post, but the one where I added the phase switch is searchable for some reason, and I modified what was in that "inspiration" link quite a bit). I am not a fan of active electronics at all, so went with the hottest/cleanest PUPs on the market at the time (DiMarzio D Activator Bridge (DP220)/Neck (DP219)), and the switching allows for split coils as well as parallel/series/phase between the neck and bridge. The tones then come from lowering volumes for different combinations, and it has almost an E-Bow effect for certain settings and FX (I got it to sound like bagpipes once and thought that was funny as hell, so saved that preset on an old pedal board). I was vindicated for my choices when I sent it to be PLEK'd, since the luthier came back and asked "Are those active pickups? I plugged that in and it damn near blew my head off with settings I used for LPs." The only caveat to that switch arrangement is that you must have humbuckers that expose all 4 wires (both coils) with enough leads to get the coil splits... some are pre-potted in series with only the 2 wires from that series chain exposed and won't work.

Definitely research this in more detail before jumping in and running those tapes. Because of the age, how it was stored can play heavily into degradation of the tape. There are companies (and some forum members I have seen over the years) that specialize in these services. If you do not have the equipment yourself to run the tape, that may be a better option to look into since they would have more experience on the care and recovery of specific media prior to doing the digitizing run.

+1 to the above. Another thing to keep in mind is that backwards compatibility is not always possible with a few new features that older versions cannot recognize (Aux Tracks/Patch Points being one of them). That being said, a couple things to consider: You can still install SONAR 7 on the new machine. There are a lot of new features and layout changes since SONAR 7, so having that version installed may give you a comfort zone while learning the newer version. Whenever opening an older SONAR file in a newer software version, immediately save it as a new name (with version in the title helps to keep track). This way the original file is always left intact should you want/need to back out to an older version. It is sometimes easier to finish projects with the version they started in if almost finished, but you can always transfer them forward (just sometimes not backwards).

You should be able to simply re-register TTS-1 if it is already installed. I see you had posted this same issue before, so for future reference, the steps in this post by bitflipper are all you should need to do if it recurs.

Every time there is an acquisition, the bean counters on the buying side need to see growth. For a main product with updates every 2 years for less than a year subscription, it may get more foul going forward for the version releases. A lot of these subscriptions I simply take as acknowledgement that a product is mature and reached the point of diminishing returns.

I got the "wow" reaction from this as well. The only two resistors I know of are for the blower motor and cooling fan, and neither of them would take 5 labor hours to replace. It does remind me of a funny story where a specialist came in to troubleshoot a complex piece of equipment and marked the location with an "X" with a piece of chalk so the company could expedite repairs. He billed them $50,000, to which they got irate and wanted an itemized bill. He promptly sent them back their request which read, "One piece of chalk - $1. Knowing where to put the mark - $49,999." I guess he didn't tax them, so they should have considered themselves lucky.

A lot of vintage gear is simplistic by today's standards, so that comes across as more brand name than amp to me. @DeeringAmps had mentioned he is slowing down on amp work, but it made me think he could probably build that for less, but he is also in tune with what the costs are these days.

That one is under Preferences->Audio->Configuration File Another one to consider is bumping up the Playback and Record Buffers Sizes under Preferences->Audio->Sync and Caching. Depending how complex your project is, there may also be hurdles pulling/writing from media, especially if you upped the bit-depth.

Once you have passed the tempo map to the DAW, you can remove the RegionFX to free up being able to do more surgical edits on the audio (as needed). That step of moving the tempo map to the DAW hasn't affected the file's audio and you have what you needed from the BIG RegionFX once the DAW has the map for you. I try not to save project files with massive RegionFX active as it embeds the "separations" data into the project file itself; but once you get into tweaking audio, rendering or not can come down to personal preference and computer resources (less noticeable when the edits are surgical and leaving them active).