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Mark Morgon-Shaw

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  1. I'm all in - Do we get a bounty if we find any bugs 😉
  2. Hopefully the new console view will be more flexible with the move to a vector based GUI - In theory you should be able to have it re-size iteslf tto best fit the screen / window. I have 3 but I use them all in landscape. You have made me wonder if I should the two smaller ones on the outise it portait mode like you have them Obviously it's a more natural fit for documents, I'm wondering if there is any benefit with things like Kontakt that I use a lot
  3. I have a template now with it set but sometimes I don't use that template and forget
  4. When can we buy such a thing ! 🤑 ( or at least Beta Test it )
  5. I can agree that a more fully featured Track Manager that can be docked etc if you wish would be an improvement
  6. I think it's just a case of applying so much heavy correction that it starts to sound screwy. Best to use any of these tools sparingly and finesse it manually, but If you use it on auto with a high degree of processing there will inevitably be unwanted side effects and weird artifacts.
  7. Then Rexred's YT channel might have found a new audience member.
  8. Yeah it doesn't dock the left which would be more flexible I looked into ultrawides last time I did a monitor upgrade and I decided against it precisely because I figured I might run into issues like these and I went with 2 x 24" individual monitors with small bezels so it would be easier to snap individual windows into place against the edges ( and I had to watch a video on the windows snap feature lol which actually works well once you know how to drive it ) - I don't use screensets BTW as I find just snapping things quicker and less cumbersome but I might re-look at this in new Sonar with it's new vector GUI. The reason I mention all of this is because when I was looking at ultrawides some of them mentioned having software so you could split them up into zones and have 2 or 3 virtual monitors on one screen. So I am wondering if this might be an option for you to set it up how you want by dividing up the screen up and then setting up your screensets and maybe in the new Sonar we will have more flexibilty due to the overhauled GUI.
  9. It is all starting to make sense now. Your workflow is something like. 1. Sing line badly 2. Process line heavily with Melodyne 3. When Melodyne has to hammer the audio so much it becomes an unintelligable robot voice, drop in again until it you do a take it's algorithm can cope with. That seems like a very lazy workaround Vs getting it right at source. Recording several takes top to bottom, dropping in any lines / phrases that still could be improved , then doing a final comp before taking it it into Melodyne to finesse, nudging pitch and timing here and there. Not nuking the recording to the point it breaks and removing any traces of human performance. Do you work this way with other recorded instruments ? Guitars etc ? Blasting them with Melodyne every few licks as you go ? We don't. We get the best performance we can during the recording phase, prior to post production. So it already sounds good before we even touch tools like Melodyne. We're polishing it with a soft cloth to make it shine, not taking a hammer to it to bend it into a diffrerent shape. Congrats. it says you have 32 listeners a month of Spotify. Interested to know where the other 2,599,968 are finding you ? I get about 10 - 12 monthly listeners on Spotify but my music is increasingly on TV , so effectively millions of people every month will have heard it should they watch certain shows. More music in more TV shows = more royalties. Back in Dos days I was using the far superior Music-X on the Amiga as my seqeuncer which sadly meant I had to switch to PC around the Win95 era when Commodore went bankrupt. My first version of Cakewalk was 3.01 which was rubbish compared to Music X but it was clear the PC as a platform was going to be unstoppable and Cakewalk was very popular. These are true solutions rather than a quick fix sticking plaster.
  10. I think you'll find they would have slowed the tape down thus lowering the pitch of the song, recorded it and then returned the tape machine back up to normal speed. But a tape machine that has varispeed and is designed to operate that way, it's not going to make it break down. Yeah maybe the band should have lowered the key a couple of semitones but this was fairly common in the days of analogue tape , you still have to have good intonation though. What did he do when performing it live ? Most pro singers do have vocal coaches and a good one could probably add those extra few notes to a singers range over time. The insane logic would be chopping the tape into pieces and then splicing it all back together hap hazardly then wondering why it got stuck in the machine and won't play properly.
  11. It's a poor workflow. You are doing a post production during the actual recording. I'm not sure what you mean when you say " Melodyne corrupted line " ? I have no problem insulting anyone if it makes them get it right. It's a crutch if you're using it on every line just after you've recorded it. No legit singer would want to work like that, it's an art and a craft to coax the best performance from a vocalist. Maybe call up a local pro studio and ask them if you can sit in and observe a session so you can see what a proper workflow looks like when working with singers.
  12. No I was asking first just in case its my Buddy's fault somehow
  13. This is the way. The OP's issues spring from using Melodyne as a crutch.
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