mettelus

+1 to the above, there are a lot of keyboard shortcuts in CbB to make workflows easier. Finding them, or even knowing they exist, can be the real challenge. This forum packs a lot of knowledge, so don't be afraid to ask questions.

I tried to see the advice you were referencing but that site exploded into a massive popup on my phone so I closed it. Just so we are all on the same page, what are you trying to achieve? For future reference, it is sometimes best to focus on the goal rather than a workflow. Some will rabbit hole you and make you think that theirs is the only solution, even when simpler and more effective ways exist. When you focus on the purpose you will often get several workflows (all viable) and then you can pick and choose what works best for you.

I love her distinction right off the bat. "...the pop world, and serious music world, and all over the place..." Most of us are probably in her "all over the place" bucket.

I have an older GNX3000 which seems a similar unit. It only served as a combination FX pedal (processed output). Internal DI paths and especially audio interface capability are on pricier units. I use a HELIX Floor now, but honestly do not use the interface functionality on it. As @Byron Dickens mentioned first off, if you are going to run audio into a DAW, a good audio interface is required (comes with its own ASIO drivers). I would not recommend looking for that capability in another piece of hardware. Standalone audio interfaces are going to be more useful to you and much cheaper.

I am pretty sure that does not output a DI signal (both a processed and clean signal from the unit), just to be clear. I checked the manual quick, and didn't see that capability. There are processors that will output both, which is convenient if you want to tweak or even re-amp them inside the DAW.

I sort of wished he had played that on the fretless. I was watching a few videos on them recently, but the only ones who seem to take to fretless without a massive learning curve came from a fretless stringed instrument (violin, cello, etc.) in the first place. I then looked at my own style and realized I am too old to learn that precision!

That is weird that posted here, since that was meant for a private thread. Computer blue screened shortly after, so was wondering why that didn't post!

The wood that was used by Stradivari was unique (from the Little Ice Age). This page has a quick summary of it, but there are other sources for this same topic as well.

Keep focusing your editing in the PRV. MIDI data captures note pitch, on/off data and note duration basically. If the VSTi (instrument) you are using has legato functionality, then overlapping notes will sound smoother, but that is dependent on what is playing the notes (not the MIDI data). If the durations are simply too short, you can elongate them in the PRV (drag the right edge out). For the robotic aspect, there are "humanize" functions (which may be hit or miss), but you can also turn off "snap to grid" and nudge notes to your taste. This is a common technique with guitar chords, since the pick doesn't hit each string at the same time (that sounds insanely robotic for a guitar), but rather a slight delay between them. Piano is the same in that the slight delay between notes is what the hand is actually doing. Don't have notes always landing perfectly on bar timing if you want it to sound realistic.

That USB is just to output from the unit (and edit parameters in the unit from a PC), it is not an audio interface. Per the manual "8. USB Jack The USB jack connects the RP500 to a computer and provides two purposes. First it is used to provide communication between the RP500 and the X-Edit editor librarian software. Second, it is used to stream four channels of audio (2 up / 2 back) to and from the computer when using the RP500 to record with the included Cubase LE4 recording software. Refer to the RP500 Software Installation Guide and Cubase LE4 online documentation on proper setup for this use." I have a couple predecessors and they function the same way. Are you trying to record events or use for hosting? For just hosting, a better bet is to get a decent PA system that can house the channels you may need. For recording, you could either take output from that (which will limit post-production drastically), or get an audio interface with enough channels (but would require some PA-like system anyway). Just so folks can understand your situation, what are you looking to do?

In addition to bouncing clips, which will create new clips of the size being used in the project, the easiest way to clean up things afterwards is to do a "Save As..." of a project and put it into a new folder. Check the "Copy all audio with project" and only audio in use by that project will be put into the new folder (the original files you started with will remain in the original folder which you can either archive or delete as the situation requires). For your situation, I would make a copy of your original folder first just in case, then open it, delete all content but one song, do a Save As for that song and close it (do NOT save the original project when closing). Rinse and repeat until all songs are in their own separate folder/project.

There is definitely a learning curve with everything new, that is for sure. SOP sat sort of idle for me for a long while until I forced myself to open it first when I sat down; some of the nuances in work flow are not obvious. I would suspect JRR will get more numbers for sale, but there are sales off and on anyway for SOP upgrades. The cheapest is typically before the next version hits.

Wow, were you logged in? The "upgrade from any professional" is $149.95 everywhere... even places like GC/MF. JRR just has the bonus discount.

Upgrades for Studio One are typically every 2 years, with a free (.5) version in between, so on a per annum basis is relatively cheap (even compared to some plugins). For those that came on with the SONAR debacle (SOP3), there have been a lot of updates (the majority of which hit by SOP5). I never looked into Sphere though (another option), since I have plugins to cover what I need beyond what SOP provides. SOP6 wasn't as impressive as 5, but covers everything before it. This particular quote has more impact than some realize, since updating decades-old code to conform to time now is not an easy task. The folks who started SO came from other DAWs, so they knew how to do it, but didn't need to deal with the coding hurdles from modifying existing code. I have only been able to bury SOP from third-party plugins, but even now that is difficult since it isolates offenders better without crashing the app out. As with everything, it is better to test run apps before getting excited about sales on things. If it fits your needs, then it is a good candidate to put on your radar. If you are not going to use it, it will probably fall off that radar on its own anyway.

Google makes money from people that pay them to promote products or by pointing you to videos laden with ads. If Google is not making money, they don't care much otherwise unfortunately. At least they mark paid promotions (today), but I did a simple search the other day that had 4 pages of them before legitimate hits! You have to be creative on keywords to get an accurate list more and more as time goes by.

Worst case scenario (if the VSTi outputs audio) is to route that to an AUX track and record it real time. There have been situations over the years where fast bounces do not function properly. Freezing should also work but sometimes backing out of that to edit performance has lost VSTi settings for some (always back up files before destructive edits just in case).

You can (sorta) future proof videos by simply saying this is how you did it, but the installer may change in the future (for things you can predict). Users can always search for the product name online at that point, and there is no guarantee they will remain available either. In 50 years, if someone happens across it, they may just see it as a quaint history lesson 😀

I would recommend getting familiar with Standard before worrying about Advanced. Unless you actually are going to use the Advanced features specifically, Standard probably covers over 90% of what you will need long term.

Just to clarify, are there two guitars on that track (rhythm and lead)? If so, that is the primary hurdle due to frequency overlap, but time-based FX (delays, reverbs, etc.) tend to cause the most grief trying to separate things. If you hit a wall with it and want another to take a shot at it, shoot me a PM. I will not have time to sit until this weekend though.

This plugin requires a buffer that is base 2 (64, 128, 256, etc.) so won't function in StudioOne unless locked into one of those. I didn't worry about it when that error message popped up since it was free, but is worth noting for folks (there are three DAW settings that will cause it to fail, but I forget the other 2 offhand).

I forget now, is the original Z3ta included with CbB? In addition to the synth (instrument), that can also be inserted as an FX (can run the LFO on the incoming signal), which may be any other possibility. The automation lane mentioned above may be simplest though.

It didn't occur to me till I read this thread... wasn't Waves initially a HW-based FX system? I had to chuckle @bitflipper's comment about a case study... Harvard Business Reviews are rife with companies that buried themselves due to bad business decisions (some of the better ones are required reading for MBA's). In fact, one professor started his first class by saying, "I should be sitting on a yacht in the Caribbean, but my father ruined the company..." Turns out, that company had a stranglehold on mechanical switches for aviation (wouldn't trip under high g's), but when electronic switches were introduced he refused to adapt and weight (one of the driving factors to make anything go airborne in the first place) drove him out of business. Those who adapt to customer needs and change tend to excel, those who cannot tend to fail. DSP has long since matured, so there are not a lot of "new" things out there to begin with, yet some perpetuate products that were fine decades ago.

I cannot remember offhand exactly which, but MS and Adobe both had free text-speech readers. I think Google also has one embedded in their book reader app (forget the name now). Pretty sure they were all mobile apps as well (for hands free) rather than computer. Not used any of those more than in passing, and they will only work on certain file formats (by app). Capturing that would be another hurdle.

One thing not often mentioned with the Chord Track is you can also adjust both existing audio/MIDI to conform to changes made to the chord track (conform loops, adjust key, etc.). This was one reason I was skeptical with the EZKeys excitement. I gave a couple demos (grand pianos) a try, but bare bones they were lackluster. I ended up grabbing Scaler 2 instead. Melodyne and SO are more joined at the hip than anyone else I know of, why shifting audio around with the chord track is pretty seamless. The Projects page is another noteworthy feature for mastering and album compilation.

Another bit of sage advice... I think most of my wasted time (musically) falls into this bucket, especially for things I have and almost never use. It does have "somewhat" of a benefit in that after I have wasted that time, I will follow up with playing sans computer. Time is the one finite resource that we can exchange for many others (money, education, amusement, etc.) but can never be exchanged back. Tell that to a kid and they will give you the deer in the headlights look, so for them I often caveat that with "once you hit 40, that will make more sense to you..."