OutrageProductions

And Quincy Jones, and Berry Gordy, and Leonard Chess, and Sam Phillips, and... ...well... just about every producer that was worth his salt, ever.

And that, in a nutshell, is why the producers chair exists... to get the artist out of their shell, and out of their own way. Also why so few 'self-produced' records are highly successful.

Kontakt 7.x is a massive resource hog on all platforms and DAWs when compared to K6/5, so it's not specific to CbB. Hopefully NI will find a way to resolve that issue. Personally, I have regressed to only using K6, and I'll watch their progress in future.

While I fully realize that much of the Coffee House isn't exactly a bastion of witty repartee, I couldn't convince myself that this type of conversation would better fit in Production Techniques...😂. Too obscure.

Maybe I should refine the query to a discussion of the actual edit time as listed in the <File Stats> section of the Notes Browser. I realize that many (myself included) may have extraordinarily long accretive time (days, months, years) during the creation of material, but I'm more interested in if anyone ever considers the file open/edit elapsed time and the resulting real or emotional consequences. After all, it should be a metric of growth, experience, and knowledge of your tools and skill set. Too deep? Too soon? Too metaphysical? 😁

Actually, back in the dark ages (where I cut my teeth), anything with 32 or more channel strips was considered 'large format'. Nowadays, one can access 256+ channels in arms reach. The largest console (in channel count) that I ever used was the Harrison MPC5 at Sony Studios in Culver City. Of course there were 3 engineers on it, so you didn't have to move far.

This problem usually stems from the fact that most keyboard modulation devices are set to CC#1, and can't be changed. You could try to change its output assignment in the keyboard editor, or use MIDIOX to translate it to something else on input like CC#11.

@Bapu; when we worked on what would eventually become "Velvet Rope" by Janet, it was a little over 2 years from inception to final mixes, and I thought that was an eternity. I worked on a John Prine record in the early 80's that only took about 3 weeks. I once did an first album for a band in Texas in about 50 hours over 6 days. But I'd been working with them on the arrangements for a year before that. But when you think that Motown would write, record, and ship an entire record in 3 days... jeez. Of course, they didn't have 'unlimited' tracks. And the arrangement was all done in about 3 takes.

Does anyone else ever keep track of how much time (including coffee breaks) that they spend creating, fleshing out, and mixing a project from the note browser. I used to spend up to 24 to 30 hours to compose a movie cue of 4-6 minutes, and in the last 5 years have that whittled down to under 10 hours. Sometimes I get lucky with a theme and can recycle it into an accompanying cue in less than 5. These days it takes me about 3+ weeks to do an entire movie score, with rewriting & modifications to fit edits. Just curious. Does it make you happy... or dismayed?

What does the Inspector tell you when you highlight the clip in question? Is there a checkmark in the <Looping> tick?

You have to be a bit more specific than "standard set", as no such thing adhering to that nomenclature really exists. Are you referring to the TTS-1 or the SI Drums, or a General MIDI set of some sort? Please be aware that the TTS-1 is a DXi instrument, not VSTi, and is multitimbral, so you can get up to 16 instrument voices from one instantiation. SI-Drums are VSTi and can have multiple instances hosted in the DAW simultaneously.

The MIDI will automatically adjust to tempo changes. For audio, you must convert the clip(s) to "Groove Clips" as detailed in the help system. In your duplicate post @msmcleod has detailed a couple of methods.

Not to say that he didn't get stuck on a lesser mic at some point, but from 'Thriller' onwards, it was pretty much the Sony. IIRC, the C800-G was very nearly the MOST expensive mic on the market when it first came out, even more than U47's and early C12's. Before they became collectors items, anyway.

@Byron Dickens; MJ used a Sony C800-G almost exclusively, carrying one with him to every session. Bruce Swedien turned him on to it. I always had to rent one in as a spare when he came in.

Ditto with @mettelus on Comping. In the real studio... we get the vocalist warmed up, in the pocket, in the groove, and then run them down at least 6 track lanes so that we can comp the best. That way there are very few timbre variations in the performance.