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Jim Roseberry

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Jim Roseberry last won the day on August 7

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  1. This is precisely what's wrong with the "record business". The art has been devalued to the point where it's just not worth the time/effort/expense for many bands to make records (especially older "nostalgia" acts). This is also why concert ticket prices have sky-rocketed. With no real money from record sales, bands rely on ticket sales and merch.
  2. I'm slammed the next couple of days. I'll post a link for some templates as soon as I can. I've got an acoustic simulation (from magnetic pickups) that I've used for a while. I've got that and a couple other templates that I use (one using two separate Cab IRs for stereo - which requires slightly more tricky routing to keep each IR on a separate Shark chip)
  3. Guitars and players vary so radically, I don't even mess with included presets. Start simple: Amp block and a Cab block (IR block and be substituted for the Cab block). If you use an IR block, try to use a Cab IR that you're already familiar with... as this will help "get your bearings" on the overall tone. Adjust the Amp block parameters like you would on a real amp. Increase/decrease the drive. Roll your guitar volume up/down and listen to how the Amp block responds. If the Amp block feels too tight, increase the Sag parameter. If the Amp block feels too loose, decrease the Sag parameter. Once you have an Amp block and Cab/IR block that sound decent to your ears, add a Reverb block and dial it to taste. Sit and play/tweak this for a while. Note that these devices are simulating a mic'd amplified guitar cabinet, they're not simulating the "amp in the room" sound/experience. That's an important distinction. ie: Running any of these guitar processors thru 5-8" studio monitors is not going produce the sensation of a 100-watt half-stack. That's down to physics... 😉 I like to start with the Amp block (several slots to the right)... as this leaves room to add block/s before the Amp block. ie: You might want to use a high-pass filter prior to the Amp block. If you hear flabby/tubby/loose bottom-end, this will solve that problem. FWIW, I use a high-pass filter prior to the Amp block... no matter which hardware/software "modeler I'm using (Helix hardware, Helix Native, GT-1000, Axe-FX III, etc). I've had the fortune of working with all the top-tier guitar processors. What you learn from using any one of them is directly applicable to all. If you start with Helix Native... and move to the Axe-FX III (or vice-versa), you'll have knowledge/experience that makes using the new processor more productive. As with a real amp, all of the top-tier guitar processors are capable of good/excellent results (they're all also capable of sounding bad). The more time/experience you accumulate, the better results you'll achieve with any of the above. If you're using software based guitar processors, the DI input can make a HUGE difference in quality of results. Lots of folks complain that Helix Native doesn't sound as good as the hardware version (even though the software algorithms are identical). Often times, these folks are using a $100 audio interface with a terrible DI. If you've ever recorded a Fender passive bass with a cheap DI, it can sound extremely weak/anemic (fill in your favorite adjective for bad). Run that same passive Fender bass thru a quality DI (Neve are some of my favorite)... and the tone is just "there". The better your front-end gear, the better Helix Native (or other AmpSim plugin) will sound.
  4. Nearly every time Apple release a major update to OSX, it breaks compatibility with existing audio software (and or hardware). As with Win10, it's always best to ride the back end of the update wave. Riding the crest will mean beta-testing (struggle).
  5. Scheps Omni Channel is fantastic. Even if you just use it for problematic spots, it has all the tools you need to tame squeaks, excessive sibalance, difficult plosives, etc.
  6. Hadn't read thru the entire thread when I posted. 😉 Glad you have it resolved.
  7. You can adjust the ASIO buffer size... but opening the ASIO Panel or the audio interface's control panel applet.
  8. It's the clock and fidelity. Keep in mind that some of these composers also track instruments (including large drum-kits). Another thing to keep in mind is that professional composers don't necessarily deliver a final stereo "bounced down" mix. Depending on the project, they may provide stems or multi-track audio... to be mixed on a large-format console with the rest of the film/dialog/EFX/etc. Yet another scenario to consider is that these composers sometimes make use of high-end outboard processing (channel-strips, reverb, dynamics, Axe-FX, Kemper, re-amping, etc). Those extra inputs/outputs allow far more flexibility in these scenarios. Just talked to one client yesterday who absolutely loves the sound. This guy is a rock-star... who now composes for TV/Film. He's got both commercial and home studios. His commercial facility is full of amazing gear and set-up to track high profile players/singers.
  9. The old Cakewalk forums had a dedicated "Hardware" forum. It would be nice if that were implemented here. 😉
  10. If used solely to monitor virtual-instruments, the noise-floor of the audio interface will certainly have a much less profound impact. Ironically, the most popular audio interface with our professional composer clients, the Antelope Orion (due to its high fidelity and excellent clock). Almost all of our professional composer clients (TV/Film/Games) are using the Orion. Specs here: https://en.antelopeaudio.com/products/orion-32-gen-3/
  11. Noise-floor on a dedicated audio interface with external A/D D/A can be very significantly lower than onboard audio. ie: Realtek isn't going to get anywhere close to average noise-floor of -118dB. You may not notice a 12dB difference on a single track... but multiply that across 24 tracks of audio... and it's an appreciable difference. Like pulling a veil of noise off the project... Even dedicated audio interfaces that have A/D D/A inside the PC rarely achieve noise-floor better than ~104dB (usually closer to -100dB).
  12. One other thing: Is the MIDI controller connected to a USB-3 port? If so, some older Audio and MIDI interfaces have issues with USB-3 controllers (especially 3rd-party USB-3 controllers - meaning non-Intel).
  13. I'd test with a different DAW application... to see if the MIDI performance data (from said controller) is being recorded. If so, the issue is down to CbB/Sonar. If you don't have another DAW application, Reaper would be perfect for test purposes. It's a small download... and can be uninstalled without leaving lots of remnants.
  14. Axe I/O was built for this purpose. I'm sure it'll work well.
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