mettelus

You may want to consider editting the original post to something like "[Solved for now] Help with Focusrite 18i8" Otherwise this thread will get SB comments till the cows come home... at that point GirlDairy's thread will come back to life.

+1 to the above. Additionally, are you recording audio? That is really the kicker... For a desktop, the onboard Realtek would already provide everything a SB card would for playback only (probably more, since I believe most Realtek chips are surround capable these days). I assume you have a Realtek chip on your motherboard... so the SB is probably moot. Shifting gears to your underlying issue... I switch between my Realtek and Focusrite Saffire frequently... one issue with the Focusrite may be that you need to have it online (and seen by the system), then explicitly set the onboard Realtek as the default Windows playback device. This is done under "Sound" in the Control Panel. *IF* the Realtek is already the default device, set it to the 18i8, then set it back to the Realtek (again, the "default" assignment must be done by the user, not Windows). Once that is done, Windows will see it but not use it... only programs you explicitly ask to use it will gain access to it. This may be the issue you are seeing with your 18i8. If not done, Windows will let any application use the Focusrite (and lock the bit-depth/sample rate), which can then lock out the Focusrite from DAW usage. Disclaimer... using both the Realtek and Focusrite as mentioned above will require two sets of monitors (one for each sound system).

If the OP ever returns this is probably the best advice in the entire thread. There are plenty of reasons why, and more potential solutions; but what the OP really needs is to understand what is done with specific material... the why and how... and see the end result on something they know well. It would be a more beneficial learning experience to get this advice rather than generic "what if solutions" thrown back at you. Definitely consider this option. Also bear in mind that you can also choose the option to selectively post/share material rather than for public dissemination.

+1, I am baffled at times why people blindly slam normalization when its function is fairly simplistic and isn't going to hurt anything so long as you don't clip. As compressors/limiters are built with "normal operating bands/ranges" in them (software not so much, but hardware for sure), what normalization does achieve is the ability to use the follow-on compressor without having to use extreme values for expected results (and potentially undesired side-effects). FX chains (in general) lend themselves best to processing somewhere close to unity.

Yeah, I have pretty much jumped off the GAS bandwagon since it takes more time than it is worth more often than not. One thing with MDrummer Large that is a royal PITA that I didn't figure out till I came across it in a video is that MDrummer will randomly select the following beat... turns out there is a buried option (on by default) setting for "Random loops." I shut it off via the "Rhythm Editor" tab->Settings Pane (upper right)... there is an "Additional" button... you can disable "Random loops" at the top of the pop up window... just why that is enabled by default and buried so deeply in the settings is beyond me, but you will want to disable "Random Loops" first thing if you want to keep your sanity learning MDrummer... "random" and "composition" rarely mate well. I haven't done any tutorials in years, but MDrummer could use some love on a concise "Pathway to production." Although there quite a few videos out there, you would need to spend too much time (IMO) to grasp it enough to use it properly if you wanted to create/play songs with it. Even owning it, I turned my back on it for months until one day I decided to actually learn it, but even then the "Random loops" tripped me up (I got a lot of choice cuss words out that afternoon 🙂).

I admit that I am confused by the linkage of XLN to CbB above (they are separate entities), since it really boils down to "A 3rd party drum VSTi is required to achieve this in CbB." That is very true. But there are also other VSTis already that can do similar (if not more), so I am trying to find the "Revolutionary" in this. Regardless of DAW, drums tend to boil down to: Generating (not all have this), modifying, and saving kits. Generating (not all have this either), modifying, and saving grooves/patterns by type (intro, verse, chorus, fills, outros, etc.). Layering, slicing, sound manipulations. (backend sound engine). Firing off kits/patterns appropriately for the song being composed. I have been using MDrummer for a while now, and the "Large"(or the paid-for version) would be $125 when it rolls around in the Eternal Madness Sale cycle. The one feature of that that I immediately enjoyed was the ability to import drums samples from anywhere (so long as they are not in proprietary formats). Even without that, it will randomly generate and build kits (iteratively) based on genre (or mix and match). The other cool thing they do is open up "Studio" kits each year for users to submit samples, and the last batch put out was rather hefty (14.3 GB IIRC). As with a few of Melda's VSTis, they are so deep that if you go beyond the "easy screen" you will need to invest some time to use it properly. The "problem" with 8000+ drum samples is this... a user wants to be able to sit down (from scratch) and create a usable kit/patterns in the shortest amount of time so that they can keep moving with a composition.

At first I thought this may be a takeoff similar to Newscool, but seems I was mistaken. Not really sure what to think of it now, but the video bored me pretty quickly.

But... but... Atlas looks like a Lite Brite and this has dots of different Sizes?? Wait... wait... wasn't your point... carry on. 🙂

It has been a while since I've used MV, but the other issue is that MIDI learn needs to come from a hardware source. If you could feed a MIDI track into MV and MIDI learn note data from that driving track it would be simple (locked to a MIDI channel would be even better). Such a feature would dramatically improve the usefulness of the MV. One underlying reason for the OP is also that a column can be of several sample lengths, and there is no way to define "end of column loop" to my knowledge. As tecknot mentioned, the only way I know to drive columns is manually via mouse-clicking or a hardware controller that was MIDI learned.

Welcome to the new forum! Yes, you are correct on both counts. Since newer versions overwrite some common files, it is recommended to Install things in chronological order. When I loaded this machine, I did the Basic Installation X2 (to get R-Mix - be sure to check both Basic (Core Program only) X2 installation and R-Mix too if you want it)->Cakewalk Command Center (for Platinum and all things housed in CCC)->Bandlab Assistant (for CbB and the updates applicable since CCC).

That would be a great irony, but it was actually Matt. This post from the old forums which has pics from just before I put a phase switch in it (7 switches total; 4 are in the pup mounting rings (Seymour Duncan triple shots), and the phase is a push/pull in the tone knob). I left it natural wood, but the body splice on it is obvious. Although I had considered painting (or even wrapping) it, I hit a stroke of dumb luck on the electronics so don't want to ever break those solder joints. Although I joke about the $125 I paid for it (including case, Gorilla amp, and distortion pedal), it does have roughly $700 worth of parts/labor (PLEK'ing) in it; but I never counted all the hours of work, machining, or routing that I did to it myself. When I shipped it to get PLEK'd I gave the UPS guy the deer in a headlights look when he asked "How much do you want to insure it for?" I remember telling him "Just don't lose or break it."

LOL, I went to college with a pathological liar who had an Ibanez he never played, and he wouldn't let anyone touch it for "fingerprints." Although he bragged incessantly over his musical prowess he didn't even know folk chords. I have always been function over form for most things, plus I like to tinker and have no qualms modifying things. When things look too pretty, they are apt to get stolen or played less, and few will modify them. I have modified all but three in my lifetime. The one of most value to me is the most modified and most played, yet most generic looking (although unique enough I always get asked what it is).

A large chunk of the OP stems from this and the underlying CPU "issue" can be resolved by baking tracks discretely as one progresses when necessary. This is required less as machines get more powerful, but fear of commitment will challenge some. Soft synths have a definite cost advantage over hardware (probably the biggest argument), and complex hardware synths can get even more complex with controls and menu drill-downs that make them unwieldy and slow. I prefer drilling with a mouse on a computer... Navigation with buttons on hardware I've outgrown. Bottom line is having an adequate MIDI controller as one's weapon of choice. It boils down to a performance in MIDI either way, just which processor one chooses, and their workflow. Recording the audio from a synth is akin to baking a VSTi. [Aside] The cost perspective and convenience alone allows more people to enjoy music production. For guitar, hardware requires setup, proper mic'ing, ability to play at proper levels, etc. to get it in the box. For less money, a new player has more options available already ITB. Back in the day with small kids running around that love playing with cables, I had to spend 30 minutes just to setup and break down hardware. No one mics a hardware synth... at least that I have ever seen.

Do you have a region FX (Melody's, etc.) or Audio Snap enabled on that clip? Certain clip functions are disabled in such instances, so you may need to Bounce to Clip(s) first.

Does enabling Input Echo or Arming the track have any effect?

Cactus and Tezza already hit what came to mind for me, but I did want to reiterate the comment about lesser playback mediums. Cell phone speakers can be brutal, but are a good analysis tool.... It will collapse a track to mono and point out poor crossover band choices, but won't reflect bass well at all due to speaker size. However, it is a good litmus test for a mix, and potentially how your song could be heard/shared with others. Try listening to the mp3 in your OP on a cell phone speaker and see what stands out to you.

Just checked here to confirm and not seeing that either, just the current Sonarworks offering.

In 2011, I put a 240GB Patriot Wildfire in my old Win7 2600K machine. That particular drive had a few workarounds to load firmare into, and ran hot (internally it had no throttle, so things like installing DimPro that would uncompress a massive zip and then install it would Blue Screen it out). To do that particular install, I needed to either unzip it manually first, or set the temp directory for installations to another drive (HDD). In late 2017, I got a 500GB 850 EVO "just in case," and benched it with Samsung's utility... the Partiot actually outbenched the 850 EVO. Being paranoid, I swapped them after cloning and threw the Patriot into a drawer. Before I did, I checked cells on the Patriot, and none had gone bad. Early in 2018 I got this new machine, and I pulled the 850 out of the old one to be a data drive. I threw the Patriot back into the Win7 machine, and it booted right up. I do not use that much at all (it has a DVD ROM, so I only really use it to make ISO files of old CDs/DVDs), and other that the standard don'ts, that drive spent a lot of time run hot as the system drive (and with the pagefile online was sometimes over 90% capacity). The only thing I would be concerned with now is that some newer technology (quad-layer) may not be as reliable/fast as less-dense media. Bear that in mind as "How did your SSDs fair?" may not be an apples-to-apples comparison - and some drives are no longer available. Samsung's have ruled the roost for a while now, so for a SATA SSD, the 850s have a lot of technical reviews to fall back on, and are still available. NVMe is a different beast, so look at reviews of things before making a purchase, and make sure your machine will support it... I read a review long ago where a person put a SATA III SSD into a SATA II connection and couldn't figure out why he wasn't getting a performance jump from it.

Maybe misinterpretation... It could mean XLN will be vaporware soon.

Interesting comment regarding 430.4 in there... since that is within one cent of how this was released (39 cents flat IIRC). Because of how it was released, it does sound odd in 440 tuning, but is much easier to record in 440, then adjust the master down. Overall, the ability to tune instruments relative to each other is what is important. There has to be some standard, for better or worse, and with the digital age one can adjust *most* things willy nilly (even if done post mastering, which is simpler for real orchestral instruments). When things are not in tune with each other is when they stick out like a sore thumb... How it gets printed/released is up to the artist. These videos are all over, but when talking 8Hz... that low doesn't have that kind of resolution (even small errors compound quickly via doubling the error), and the graph he flashed briefly showing that is not even the strongest pitch. One would also expect a bit more from a scientific argument than a whole number this day in age. [Stupid aside] Stack tolerance is my prime choice to needle engineers. 100 level courses all speak of +/- error and how errors carry through calculations, but it is incredibly rare to see that +/- value ever included with precision measurements when selling a product anymore.

Have to chime in or I will forget to download! I didn't realize these existed until around Christmas, but these guys keep pumping out some of the most usuable freebies that exist. Simple, functional, and relatively small footprints.

Sounds like they are off to a good start. The social aspect and getting others involved is the biggest win if the owners can achieve that. Sadly, younger people tend to think of "social" as "online media" rather than "interacting with a person face-to-face," so the 45+ doesn't surprise me too much. Playing instruments seems to also be slipping away, so hopefully they will be able to chip away at both of those issues. The biggest hurdle is getting folks involved in what is going on, so the "everyone I've met has been kind" is a huge plus. Kids will tend to be shy but want to participate, so it takes people doing things with them to get them involved (karaoke tends to be simpler for them). Even with open mic nights here, a lot of the fun was people wanting to sing certain songs and the players doing the best ad-hoc renditions they could. [Aside since I mentioned karaoke] Karoke bars are actually a business model in China, and they are laid out so that each group gets an isolated room to eat/drink with its own system. I have never seen anything like that in the US yet, but is an idea for folks who really want to participate but really get stage fright too. There is also the subset of people who do not have gear at home, so the only time they can participate is in a place that allows them to touch gear (you see them in GC and the like, but GC isn't overly social for this). If they keep focusing on social and participation in a laid-back environment, word of mouth should kick in pretty nicely for them going forward. Things that fell apart around this area were when "laid-back" disappeared... it is amazing how people back out of social events when "not fun" enters the picture (yet this seems to surprise those who made it not fun in the first place for some reason).

Thanks for the heads up. I can definitely relate to folks not wanting to chop and swap custom guitars, which definitely precludes a lot of extra gear out there. A sustainer pickup unto itself is more of a novelty to me, and seems it is simply a static version of an E-Bow (with high (harmonics) and low (sustain only) capability). When mounted in a static position (like the neck position in this usage), it does a couple of unwanted things 1) knocks the pickup being used to sustain (the neck) out of the audio circuit, and 2) will always sustain harmonics in a static way depending on the note played. An E-Bow gives more dynamics (vicinity to the audio pickup will effect the sound greatly), but they are clunky to use (again a novelty for me) and I use mine so infrequently that I don't keep a battery in it. The old-fashioned methods of sustain via amp proximity/feedback and harmonics from string touching/pinch harmonics, feedback, and/or wah pedals tends to suffice for 99+% of playing. Whenever I do use the E-Bow it is more for sustain purposes, and even if I do mess with other things and think "that is cool," I tend to forget about it by the next time I sit down to play.

Does "NONE" actually work now? "NONE" always used to mean "OMNI," which is exactly what the OP doesn't want. By default, Cakewalk takes all MIDI channel inputs to a track, so setting the channel to something the keyboard is not sending "should" work. Also be aware there is a preference setting to "Auto Echo current track" so if that is enabled and the Addictive Drums track is selected, it will auto-echo. I leave this off by default so that I manually echo tracks and know what is going on. Aside (just in case) - If a VSTi is enabled for "MIDI throughput" you can send it MIDI notes, and they will pass through into other VSTis listening to the same channel (or OMNI). This may also be an issue when using another VSTi... with that enabled, AD could also be getting MIDI notes even though you are not expecting it to. Just for clarification, it seems the OP is recording audio (not MIDI) from the Micro Korg? If true... worst case is you can go into preferences and disable MIDI input during that part, but the above "should" work. I am not sure what is going on with the "second question" in the OP, I have never seen that one before, but it is certainly odd... is the kick on its own MIDI track? and if so, is the channel the same as the others? If the MIDI is all in one track, it could be a mapping issue in AD, but not sure how that would get triggered. It seems that if question one gets resolved, that there is no need to mute AD.

What did you think of the place Geoff? The "sound-proof" on the rehearsal pods is a bit hard to believe. I am so remote that the closest thing that used to be around here were open mic nights where a band set up their gear and let anyone who wanted to use it. The guy who ran those got sick about 10 years ago, and another took his place for a while he recovered. Unfortunately when he recovered the closest place he ran them in shut down, so I haven't seen anything remotely similar in years (and nothing to the level of what the OP is promoting). Pat Martino actually stopped by and gifted him a guitar as he was recovering, which was an incredibly nice gesture.