mettelus

I have never swapped sample rates mid-project, but this got me wondering. Since you can drag/drop a cwp from the Sonar browser to populate a new project, if you lock that new project with audio at a different sample rate, does that desync things in Sonar? I was under the assumption that the embedded SRC would kick in for that situation (so for the OP the 96K content would all get converted to 48K), but never thought to try it.

Something to check would be the Disk Management for each OS after it loads (ironically, "Create and format hard disk partitions" in the search bar is how to call it up). Check the bottom portion of that and see if the drive assignments jive between the OS drives when swapped. That is always something to check when swapping/installing new drives, especially if you have junctions in use. Windows gets rather weird and decides drives assignments on its own sometimes if you don't manually tell it how to function in that window.

Forgot to mention, attachments are limited to roughly 4MB, so if you have something bigger, it needs to be hosted on a server (YouTube or similar) and the link can be posted so others can access it.

I came from an older version of Premiere Pro (CS 5.5), so looked for that on Google to find a more relevant version to be sure the menus weren't drastically different. Below is a quick video bookmarked where to show the waveform. Be patient with the learning curve, especially with video editors. Adobe has a massive submarket on tutorials/classes, so it is often simpler to do a very detailed Google search of exactly what you want to do and eat the elephant a bite at a time that way. As with Vegas/Sound Forge, one of Adobe's strongest assets is that data can be shared almost willy-nilly between Adobe apps, specifically Premiere and Audition (their wave editor). Another "trick" with video editors is the snap function with them, so if you razor/ripple edit a video first, you can export the audio from that to import into Cakewalk... if you prefer to line up transients in Cakewalk, you can then use the camera audio as your guide for alignment and split the audio clip in Cakewalk, do your work, then export that and import it into Premiere and snap it to align with the original clip. I would recommend focusing on transients first (whether in Premiere or Cakewalk) rather than the camera aspect, and find out what workflow you meld with best. In many ways it is akin to creating a tempo map from something done without a click... you are going to face that issue at some point, there is more than one way to achieve it, and one of those ways is going to become your preferred method. Especially with learning video, keep tasks small and specific, and there is a good chance someone posted about that online for you to read.

Roger that. With multiple cameras some sort of visual "clapboard" helps if those feeds are separated, and depending on the view. Are you recording those cameras stand alone, or fed into a common host? The reason I mention that is there are video plugins that will enable multiple camera capture into editors, but depending how intense that is, it could require a laptop dedicated to video only (so it won't interfere with your gigging audio at all). More stuff to lug around and worry about can be stressful though. That would also accept a monitor feed from the mixer to sync everything during recording. Of course, as soon as I mention that OBS Studio came to mind as well... I have used that all of two times, but need to delve into that guy deeper to see what its capabilities are (especially since it is free and more and more hardware manufacturers are making drivers specific to OBS).

I am not familiar with Vegas, but this seems a little odd to me. I just checked a quick video on that and it seems the U and G shortcuts (Ungroup and Group?). He didn't specifically delete the audio, but scooted it well after the video. Maybe someone can chime in on that, but I assume you can delete as well. I have shifted over to DaVinci Resolve Studio, but also work with video >4K, for which Studio is required. I am always hesitant to mention other software, since you are already familiar with Vegas (which has been around a long time). Programs once they get enough years under their belts become highly capable and the user manual's page count tends to reflect that. The integration with Sound Forge is another perk. As long as you can stack audio and zoom in, you can place the DAW audio into position before breaking the link to the original video audio. In a sample-rate mismatch scenario, some video editors will also allow you to to fit audio between two markers (say a transient at the beginning and end of an audio track), so there are various ways to tackle that challenge as well. Sorry for the distraction there. I guess my real point above was that most work should be done in the video editor (when possible) and anything done in a DAW needs to be done with the ability to relink that DAW work back to the video (i.e., same length).

Are you physically swapping these drives or are they permanently connected? And how are you choosing which OS/drive to run as C? If they are two physical drives connected, I would start with checking your UEFI/BIOS, since that is where the C drive is designated. Two physical drives both with an OS on them can confuse the crap out of that, so it may be trying to determine which drive actually has the "OS" on it. A little more insight into your situation would help us understand better.

Not necessarily "required" but this does help. An alternative to try is: (Many) cameras also record audio, so be sure to capture that (you probably won't be using any of it, but see below). In a video editor (not a DAW), you can essentially replace the camera's audio track with the DAW output (be sure the sample rates coincide). The clapboard technique of aligning transients should be simple prior to removing the camera audio (essentially split the video from audio in the video editor, align the DAW track (don't remove sections from it in the DAW, to make sure they mate end to end), then re-link the video to the DAW audio in the video editor). From there, again working in the video editor, the video/audio will remain mated (important point), so you can ripple edit out sections as needed and they will remain aligned. When working with multiple cameras, this also allows bebopping back and forth between views. Big picture, a video editor allows for seamless ripple/razor editing, so keep what the camera saw in mind when working in the DAW and be sure to only remove content in the video editor (after the video and DAW audio are mated). Depending on the video editor, some are also VST hosts, so you can minimize time spent in the DAW before working on the video aspect.

If a source is mono (e.g., a microphone), there is no "stereo" to it, so recording it as mono is the proper route (and leaving it as such). For an individual track, the (stereo) interleave, (stereo) FX used on that mono track, panning, etc., and sending to a stereo bus (default) is where the "stereo" comes from (and how to mix it into the entire piece). @bitflipper posted one of the best posts ever over 11 years ago on the old forums regarding this, so it is definitely worth a read if interested. Bottom line, the raw audio is mono (from a single-point recording source), and best left that way; how it is incorporated into a stereo mix is what is important and should be understood.

Alas, no, but Schwartz is okay.

It is possible it has been nabbed by another app on your computer (or ASIO is locked to another device), did you try shifting CbB into another driver mode and back?

I am glad you got it working. Depending on things you did before the Gibson era, your legacy account might have a bit in it. Many of those installers are offline, so is worth copying/pasting the SN/reg codes from your account into a document for safe keeping (I went so far as to download all of the installers just in case).

IIRC, that was simply a SN/Registration Code (offline) initially, but was converted to work with the Cakewalk Command Center (I just checked this and the certificate has expired on the site, but it is still there). If you downloaded/installed from the CCC, that is also what should activate it, but you can also download the offline version from your legacy Cakewalk account.

A friend of mine an I were screwing around years ago with "Godzilla" and suddenly he stopped and asked, "How are you doing that?" Of course I was confused and he specifically pointed out the vibrato. I have put bass frets in everything I have redone and tend to use my ring finger a lot to squeeze and bend while leaving my index stationary. I never thought about it at all till he mentioned it, and it sort of made me self-conscious at first. Taller frets will give vibrato from pressure alone, but he has a couple PRS McCarty's and would never consider modifying them at all (I don't blame him), so I just winked and told him, "Welp, it sucks to be you then 😀"

+1 to this... I mentioned this in my first post (custom GUI and not cheap), but it is definitely worth trying out. The "demo mode" had an obnoxious phrase in it when it first came out, but they changed that to simple noise. The presets/FX in that are nicely done too, but one reason why I grab that one most often is the guitar itself can be tweaked in more detail than others. It was $249 when first released (now $199), but goes on sale for down to $139 at different sites. IIRC, the demo doesn't have a time limit on it, just the noise added. They went into a lot of detail on the performance, so is worth trying out (be sure to also refer to the manual, as the MIDI map on that has some nuances also built into it (harmonics, a realistic "stop," an such)). If you get into that one, you definitely want to take the time to make an articulation map for it.

I think you are right that it was Iron 1 (Focusrite freebie from way back when).

I assumed this was the case when I saw the list... which reminded me... I also forgot to mention above that the "Analyze" functions can be used on files on disc. This is also a reason the song list is so extensive, since it can just chum through a file for the overall output. In some ways this plugin comes across as a leaner variant of iZotope's Tonal Balance Control (on the mastering side of things).

Quick side comment on VSTis (in general)... bear in mind that some go on sale with pretty steep discounts. Both Iron 2 and Carbon were given away at some point years ago. Just keep that in mind when looking at VSTis.. many have sales early summer and BF so unless you need something "right now" it may be best to monitor them.

Might need to step back for a second to be sure basics get covered here. Sans additional pedals, an amp alone will typically have 5 control knobs on it (Gain, Bass, Mids, Treble, and (often) Presence) and that is pretty much it. Of course the guitar, pickups, specific amp, and performance (e.g., palm muting deadens the harmonic high end at the bridge) play a massive part in the tone, but the amp itself is where a lot of the basic tone resides (which can also be pre-staged on the guitar with volume/tone there). For the amp itself, those 5 knobs are what to learn intimately to best tone match a given song (some guitarists only have a guitar and amp available, so varying those controls (only) needs to cover the basics across the board, i.e., what do I adjust to shift from metal to jazz?). Metallica (and a lot of other metal guitarists) tend to run high Gain, Bass, Treble (6-8ish) and low (scooped) Mids (3-4ish)... palm muting knocks the treble down when chugging. You can Google amp settings for a lot of popular songs and get ballpark numbers to start with. The reason I mention this is that the above is not as dependent on the VSTi as it is on the FX chain/settings (IIRC, TH2 had a free Artist Pack with Enter Sandman as one of the presets). As you have Guitar Rig, you might be better to focus there and use a dry VSTi to tweak a simple amp/cab combination in Guitar Rig to set up tones you are seeking.

I will say there is a plethora of EQ profiles for this guy (a literal truckload of songs over various genres)! Most are for master targets only though (only track targets are guitar focused), but it does make EQ Matching a lightweight task (it automatically adjusts the "Analyze this" to match "Analyze ideal" (or preset), and allows you to copy/paste/save between those two columns).

Another quick comment with this guy... computers default to "Automatic Network Discovery" being enabled when loaded, so check networking options and shut that off for both Private and Public Networks. What that does is ping to find new networks like every 3-4 seconds and is a high priority task. Even from a simple security standpoint, you don't want your computer trying to reach out and connect to everything it can find on its own (always manually connect devices). That particular setting has historically been the highest latency culprit over the years.

Roger that. I have never quite melded with Kontakt, but it has the advantage that the GUI isn't dramatically different between instruments with core functionality. Definitely kick the tires (demo) different libraries and see which GUI/sample set work best for you (the re-amping aspect will remove the embedded FX from that comparison). Things with proprietary GUIs (Three Body Tech, Ample Sound, and the like) have a disadvantage of a learning curve, but the advantage at times that more keyswitches are exposed. Keep "articulation maps" in mind as you progress... setting them up can be a bit of a hassle; but once done, they will make life a lot easier for composition once you settle into your preferred work flow. For your situation, you could also fiddle with re-amping a free guitar VSTi (dry output) with Guitar Rig (focusing on workflow and tone), then back fill that VSTi library with one that you meld with later on so that you can take your time evaluating which VSTi you like best.

A couple quick comments on this: If samples were recorded properly and are incorporated into the VSTi properly, the age is irrelevant. Internal FX can be the undoing of some VSTis as many try to incorporate the "whole shebang" into the VSTi. Some are lackluster/limited with this and do not include goodies like IR capability. As long as the samples are pristine, you can offset this limitation by bypassing all FX in the VSTi (dry output only) and re-amp that through a guitar VST that you prefer (THU, Guitar Rig, HELIX Native, whatever). If the tone of ones you have tried do not fit the bill, try that route out with them. Metal specifically has a lot of low end focus many times, so the 8-string Shreddage 3 Hydra would be worth trying the re-amping with (I am not familiar with it, but some VSTis have a lot of hoopla involved in shutting off all the internal FX and running dry). The workflow internal to the VSTi (and sample quality) are what I would focus on more. Personally I use Three Body Tech's Heavier 7 Strings (straight-up since the guitar has amazing tweaks internally) or AmpleSound's Hellrazer (re-amped, but that one is also a little more finicky (con) even though it has 9 strings (pro)), but that is not to say they either are best in any way, just personal preference.

Damn, sorry to hear that one. I have taken to using clear plastic bags with things (mostly to keep the dust off when not in use), but they have saved me from liquids a few times. Just be careful not to "bag" them, per se, rather use as a top cover (not on the bottom too)... stomp switches won't take liquids in, but if the bag is also under the unit anything that leaks by those (those switches will poke through with use) can't be allowed to collect under the unit. The thin bags are cheap, and can cut them apart as needed to top-cover gear. The HELIX units are another alternative (LT/Floor), but also expensive. There was a really good review by someone who gigged with both the HELIX and Kemper several years back (can't find it right now), but the biggest takeaway for me was the Kemper needed extra FX whereas the HELIX did not. I got the Floor model and it has been great, but is also heavier than others (roughly 15 pounds). I had a stroke of dumb luck with mine, as it was on sale for BF that year at the original offering price and included Native for free (turned out this isn't always the case, but Native is simply the software version of it, so I was a little shocked later on that someone getting the hardware wouldn't always get the VST too). Smaller is definitely nicer to carry around, but I need the pedal controller too (which adds unit weight).

Have you tried a dynamic mic? They are far more forgiving for distance and allow freedom of movement (and adjust mic placement with your hands). When things are works in progress, I can see punching used more often, but as a tune fleshes out doing takes on complete verses/phrases would be ideal. Dynamic mics can take a bit to work with placement while moving around, but they are much less sensitive to environment (which can be the Achilles heel when sessions are spanned over a long period). I worked with someone extensively on book narration, and reading a book in one sitting is nigh impossible. A few things to speed up that work flow were: Physical condition/environment when recording... keep these as consistent as absolutely possible. Don't record when tired or in a hurry, that rarely works. Mic placement/performance... again, this is paramount to repeatability (I am a former Six Sigma weenie, so if inputs into an identical system are consistent (hopefully identical), so is the output). Background noise... this may be taken care of by #1 and #2, but always keep this in mind to check this (may need to remove it (by clip), since the first FX chain is on the track). Definitely use a spectrum analyzer as a guide for checking (SPAN is a perfect one)... some of the shifts may be things the condenser mic is picking up that you are not realizing. Clip gain... left click/drag on a waveform tends to be the simplest and fastest way to get clip gain in the same ballpark visually... this automatically redraws the waveform (yay!), so is fastest for gain matching... also, this only works on the clip being actively hovered over (regardless of which/how many clips are selected); keep this in mind. Track-level FX should be light and focused on the clip matching portion (at least initially), buss-level FX for the final pass. This is a preference thing though, so once get the hang of it can clip match with track FX off, then turn them on for mixing.