OutrageProductions

I'd hire a mix engineer that was competent.

If you have a license for X3 and that's all you need to do your music, stick with it. If you don't appreciate or need all of the new enhancements & improvements (both in the GUI and behind the scenes) then don't change. I fully expect the new full boat perpetual Sonar to run between $200 - $500, and since I write it off as a business expense, it doesn't really matter to me. My last update for Nuendo was over $400, Cubase was $100, so...

The only way to do that would be to have purchased and registered a SN for a version from X1[2,3] through Platinum. You can still log into the legacy servers to DL the installers and then enter your SN to activate without calling home periodically. Otherwise... you are SoL. But considering the massive improvements in function of CbB/Sonar since those days, I personally would never go back to using an antique.

^^^THIS^^^ is correct.

Latency also affects the time period when you press a key or pad and when the instrument sound occurs. It can be [up to] 30+ milliseconds, but it may or may not bother you. For many users, the internal sound device with WASAPI drivers is sufficient.

@greg54 You might be very surprized by the effectiveness of one of THESE (or similar type)

Not really my favorite, but I thought I'd interject a rather obscure old rockin' blues number with both an interesting intro solo, and a washy bridge section solo;

TBH; I don't think that I've ever tried to tap tempo with the (new) tempo track open, so I've not run across that command. I just RMB the tempo in the transport module to open the dialog box. Good to know. And I'm with David on this^^^.

I use tap tempo quite often without any issues. If I can do it over a loop, my accuracy gets better by the 3rd or 4th pass. If I try to tap to a non-loop segment (especially if the source is not consistent) I usually fail miserably. But it gets me in the ballpark, and then Set Beat to Now zeroes it in. I've never experienced the lock to tempo that you're describing tho... I always disable the metronome when doing the operation so my brain doesn't do a russian-dragon thang.

Try to find a demo/walk-through on THIS. Demos on the VSL URL. Both the Bb &Eb clarinets are huge libraries & while a bunch of articulations, not much in terms of squeeks or squalks (as those are not considered 'pro-forma' for a professional player).

It's not a bug in CW, this is known in GR6 as it fails to receive the S/M command on input after instantiated as a stereo effect. One must pay attention and commit to this prior to inserting. Happens in Cubase as well.

I've seen scook post in Feb/Mar on both KVR and VI, so he's still out there solving issues.

I would hope that you recognize "Nobody Knows You When You're Down And Out"... was composed in 1923 by Jimmy Cox and the first recorded version was by Bobby Leecan that was released sometime around June 1927. This version modeled after Eric Claptons style.

E/W & Spitfire orchestration VI's often put their 'dynamic' control on the mod wheel by default, either CC11, CC7, or CC1. This can be modified tho...

Regarding 'hanging' microphones; a couple reasons that he overlooked: Yes, heat was a factor, but... ...suspending a mic allowed for a group of vocalists to get tighter around the sweet spot (Motown developed this technique to an art form on omni mics)... ...and whether solo or group, it required the singer(s) to aim level or slightly upwards, opening the throat and promoting more diaphragm extension for stronger delivery... ... and it reduced spit & sibilance, negating the need for a splatter screen. I learned this from one of the engineers for Elvis over 40 years ago.