John Vere

I don’t think they had invented the “Mall Organ” yet. The Combo Organs were an attempt to make a B3 more portable just like Electric Pianos. They were packed full of good old analog tech. They were not exactly lite. Lacking the B3 Leslie cabinet they used Vibrato. They of course didn’t come that close to a real Hammond just like the electric piano’s didn’t come at all close to a acoustic piano. But their funky sound was part of the 60’s and 70’s. Electric piano stayed with us but Combo organs were replaced with synths. I don’t think actual drum machines came out until Roland’s Compu Rhythm CR78 (in the late 70’s. I did a couple of gigs with one in the early 80’s until the TR 505 came out. https://www.roland.com/us/promos/roland_tr-808/#:~:text=Launched in 1978%2C the CompuRhythm,that created and stored patterns.

So you are saying that these spikes are recorded and appear in the middle of audio phrases like a word in a vocal? We can help you sort this out but you need to give a little more feedback as well as trying to stay involved in your post. You asked 2 questions and given some solutions to try? Did you?

I had a similar problem and I’m very good about rendering. There’s this little microscopic RX in the upper right corner of any clips that are not rendered yet. It took some hunting but I found this one note of the guitar track above the one I had corrected. I guess it got selected too. But I didn’t render it. And because my new version can work on multiple tracks it wasn’t noticeable. I was just wondering why it didn’t show in the editor? I haven’t tried working on two tracks yet. I want to watch the videos first. It’s too bad Melodyne doesn’t warn you that you have unrendered files open when you close a project.

Don’t remind me. I have 8 fruit trees that will need stem separation soon.

Was interesting to re read and see from my perspective how much changed since November. You see me speculating about using this tool to create backing tracks which is exactly what I’ve done for about 6 songs now. Also the more you dig the more it seems they all use the same code made by Deezer. And seems that’s exactly what they have done in Cakewalk Next. When you choose the track and then “Separate into Stems” it asks for permission to upload to the server. I was thinking it was Bandlabs server but now I see it’s Deezer. So they just added the free code it seems is available to all developers. So far converting the bass into midi has been the biggest success. It’s pretty cool to use the original bass line. They do things I would not have thought about. Then looking under the microscope of midi notes and timing you can now see what you were hearing and couldn’t quite copy. Drums I have only managed to use the original audio on 2 songs. The others it sucked due to the phasing. I managed to extract the kick with drum replacer from 3 and the snare from 1 . But what is cool is to replace the drums and keyboard/ horns/ steel drums while playing along with the original tracks. This results in a more accurate reproduction and if you put in the time, it’s almost possible to achieve a very close version of those parts in the tracks. A whole new approach to midi editing. So it would save a little more time if you could extract down a little deeper on the “Other” track

Yes a wonderful hidden button! I only discovered it 2 years ago. Get out your magnifying glass.

Ha! I remember that guy. I felt sorry for him as he might have been the first victim of Google translate. Anyhow it wasn’t Sonar’s fault because no one else could crash their speakers. Actually since last spring I feel the NuB count is way down as nobody really recommending it anymore.

I failed. Even with headphones on I can’t hear any difference between on and bypassing! Probably why I don’t use much eq and when I do it’s the Gloss EQ which seems as good as any others.

With black bass keys! We won a battle of the bands playing Light my Fire and the keyboard player nailed that whole song I think his was an AceTone. I have those freebies the Combo V and F which I think stands for Vox and Farfisa

Time for a new controller. All the midi input filters are on the midi inspector strip shown by Mark. There’s not much any software can do about defective hardware. You repair or replace it.

Generally there’s only a few plug ins I install from 8.5. True Pianos, Lexicon reverb and Session Drummer? Then I can use the Command Center to get the rest. Everything else came with all the newer versions including CBC. Im not sure if 8 had anything that 8.5 didn’t have. The serial numbers came on the DVD and I ripped the DVD into a disk image and I have a document with all my serial numbers stored in a dozen places. But Bandlab has been really good about helping people access their legacy products even though they most certainly don’t have to. Back it up and write down those numbers. Only a fool would depend on a 8 year old dead web site for important information.

Your welcome. Glad it helped. Sometimes a clear screenshot of the tracks showing the input and output dialogue helps us figure out what is happening. By the way if you open your screenshots in the Windows photo app which is usually the default you can quickly crop the picture. Look at the top.

I’ve been making backing track using a new trick. Cakewalk Next has stem separation tool. This gives me the Bass, Drums , Vocals and then a track called Other which is guitar and keyboard etc. I drag the stems from the Next audio folder into cakewalk. First thing I do is extract the tempo. I drag the drum track to the timeline and this creates a tempo map. First I normalize it to -4db. Audio snap is the old way and it never works perfectly. I find the tempo map created this way is most times perfect. Especially if the drums are more or less steady. And punchy. Next turn on ripple editing use Ctrl A to select whole project and then drag the project so the first downbeat is on the start of a measure. Now check out the drum track to see if the transients are on the grid through the whole song. Now I can replace parts as needed with midi and everything is tight. I find I can actually keep the audio drum track for a lot of songs. So here you have the original drummer in you band now. The bass I convert the stereo stem into mono and drag that to AmpleP Bass. A bit of editing and now I also have the original bass line too. I only use a few keyboard parts in my tracks and I just play along with the original and try to get it close. Having the original vocals and other instruments makes it super easy to nail down the proper parts and arrangement. So far I only had one song that I wasn’t that happy with but it just took extra work to get there. This is a huge step up from using downloaded midi files etc

https://youtu.be/YJlI6U8Rqa0?si=Fi6Qt5Mo_qa3Jsnv

I was about 12 1965 and that was when every 4th house in the suburbs had a band practicing in the basement or garage. Everybody had electric guitars from Sears. Some odd ball types had drums. Even odder was a Italian Combo Organ. Nobody had a bass at first and we didn’t really notice. This friend came over one day with a Canora Short Scale bass. I said what the heck is that thing? He said a bass! Like Paul McCartney plays. I said no he played a weird violin! He handed it to me and in no time at all I was playing the bass line to like a Rolling Stone and Mr Tambourine man. I started saving my paper route money and bought a Bass made in Italy that looked like the Hofners. But every time I’d joined a band as the bass player I was always the better guitar player so they make me play that instead and I wanted to be left alone and play bass and stare at my feet. The stupid thinking was the worst player in the room should play the bass. In my humble opinion the drummer and bass player should be the best players in the band. That is a good band.

Being a musician rarely qualifies you as a tech savvy person. As a matter of fact don’t even let most of them near a Mixing board. Being a nerd who just happens to be a musician does help a little bit. The invention of the 4 track cassette just forced some musicians into becoming nerds and they don’t like it! Computer DAW’s made it even worse. That’s why many smart musicians still use studios.

Chipmunk implies a much bigger jump in pitch than you get with normal sample rate miss match. unless it was like 44.1 upped to 96. But looks like a one post wonder to me.

20 seconds in the user manual- If Outputs 1 and 2 are used, Outputs 3 and 4 are free to be used for another purpose, such as connecting to an additional recording device or an additional pair of monitors. However, please note that the balanced versions of channels 1 and 2 – i.e., the signals at the two ¼” (6.35 mm) jack sockets and the unbalanced versions of channels 1 and 2 – are affected in level by the the large front panel MONITOR volume control. The signals at outputs 3 – 4 phono (RCA) sockets are at (full) fixed level, and thus if you use these for monitoring, you will have to control the volume either at source (within the DAW itself), or by adjusting the volume on an external amplifier.

I just thought of something . I’m going to send the link to the boys in this band I play with sometimes. The test was missing a lot. It really only tested for 3 things.

This is true but most interfaces have no problem. I use a SM7b and all my interfaces easily are set at a perfect level. It’s about 3 notches up from my Beta 58 but once set it’s no different. But if the pre amp are noisy then it is a problem. There’s plenty of info about interface pre amp S/ N specs. It wouldn’t surprise me that Roland’s interfaces might not have stellar pre amps.

I'm teaching my Grandson to play guitar. I taught lessons seriously for 25 years on and off. A first stumbling block I would run into was figuring out if this was going to be a waist of time because the person had zero musical ability. I started looking into way to determine if this could be tested and found this which is from the Harvard Music Lab. It was an interesting test. Some of the questions were you listen for out of time and out of pitch were real hard to tell. But I scored OK I guess. It actually seems accurate as after all I'm just a hacker! , Have fun https://www.themusiclab.org/quizzes/miq https://www.themusiclab.org/quizzes/miq

I could be wrong, but I think the OP is trying to set up sending to the 4 outputs and just didn't communicate clearly. Otherwise the question seems strange because the interface only has 2 inputs? SO I'll take a shot at explaining the 4 output set up at least other people might learn something. First check all outputs are checked and available in preferences. Then open the track output dialogue and you will see them listed there. Select output 1/2 for track 1 and 2 and then 3/4 for tracks 3 and 4. Then pan tracks 1 and 3 hard left, and tracks 2 and 4 hard right. If you don't see the pan control make sure the dialogue you see marked above as CUSTOM needs to be changed to ALL as below. Yours is set to I/O. In this set up each track will bypass the master bus and go directly to the Hardware outputs. Often used to send to a mixer for live performance or analogue summing. This is OK if there are only these 4 tracks. If you want to separate an entire mix say 20 tracks, you would then use buses as shown below. Here I have both track 1 and 2 going to Master 1-2 and tracks 3 and 4 going to Master 3-4. They are still panned so will still go to the desired outputs. I've put a limiter on on to demonstrate the advantage of always having a master bus. The Hardware bus strips are found on the far right and are hidden by default. You can drag them into view. One small detail is Focusrite uses a software mixer ( I have the 1st Gen 6i6 ) and that can change things. Make sure the software mixer is set up for this. One reason why I don't use the 6i6 anymore. Setting up that thing was a nightmare. My Moto M4 and Zoom L8 it's all on the interface hardware.

Absolutely. But backing tracks tend to be just like a real band after sound check. And in my case the only difference between regular dance tunes and a waltz will be instead of -14 LUFS that song will be expected to be probably-15 or -16. Mostly due to the drums being more subdued. But I keep the bad the same in all songs just like you would with a real bass player. I also use backing tracks for our folk/ bluegrass band and those don’t use loud drums And the other guys make me turn any keyboards just about off. So the bass is the driving force. We run that through a bass amp. The drums and keyboards only go to the floor wedges and in ears as a glorified click track. I only make sure the bass is always the same level.

I noticed that Band in a Box uses very low levels in its midi files. So I can see it’s easy to end up there. My 2 favourite brick wall limiters after testing over a dozen freebies are LoudMax and the Boost 11. Make sure and turn the make up gain all the way down . Then set the peak level to 1.0 or 1.2 which every you like. This goes on the master at the top and the YouLean underneath. Here’s my other trick. On the master. Turn on the pro channel EQ. Now when you over load the master the on off button will turn red. So you back off until it doesn’t. You can turn the pro channel off when done but it really shouldn’t matter . The Loud Max will catch overs but it’s best they are not steady. I don’t care what anyone says that it doesn’t matter in digital, I’ve read otherwise from trustworthy sources. If that project still is peaking but has low LUFS readings then it will have something with high transient peaks. Possibly a snare of piano. Use Span or the pro channel EQ on the master to see if any particular frequency is peaking. Dang it gets complicated fast sorry ! it might be also that the bass isn’t loud enough . Bass is the most noticeable part of a backing track. That is why I always use only the AmpleP bass set at exactly the same velocity and output level of -4.0 db.

My last two interfaces have USB C ports. This is now the standard connection for devices. The old type B are fading away. The Motu came with C to A and a C to C cables. The Zoom just the C to A. I have a feeling the OP has a new laptop or tablet that doesn’t have headphone jacks. Therefore the supplied adapter and markings on the device. If it’s a tablet then the driver might not work. And since when have users manuals sucked? Possibly with certain brands but all the gear I purchased over the last few years had very good manuals. Especially the Zoom. Its important because each interface might need steps or rebooting to install the driver.