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JnTuneTech

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Everything posted by JnTuneTech

  1. BTW - Roland is also discontinuing support for the Sound Canvas VST. For now, you can still buy a license key for it, but support and development will end after September, according to their news posting. I have used it for many years, and it is the same or better than TTS-1, -of course they are from the same code base. Your mileage will vary, but for as long as Windows and your DAW will handle the final VST2 version, it may be one of the last classic GM multitimbral plugins that basically defined the category, for ease of use and depth of patches, on GM compatible files and projects. But usage of that seems to be fading, and so it goes.
  2. BTW - If you like to track covers in CbB (Sonar, etc.) and also use the Notes/File Stats tab as a view option for info, lyrics, what have you, using Discogs listings pics for your project is a fun way to keep the original content source in mind. And in the past few years, I found most of the graphic icons they use are almost perfect for the optimal view in the notes graphic icon import in CbB. Just use a search for the artist, album, single, and pull the (usually) jpg files right from the results page. You might even find those graphics useful if you collect & organize your audio references, etc. @craigb perhaps you already have a system for that with your collecting? If not, Discogs works great (at least currently) as a quick source for graphics too. Now, I wish I could find some of the concert program handouts I had gotten over the years, or even scanned copies from a reliable source. -But perhaps now I am also really too far in the completionist arena with that idea - doh!
  3. Even for us audio geeks it was frustrating. Never a consistent format. Oh, and "24-bit" on most CDs was simply advertising, because that only meant it was mastered that way, but when tracked "down" to CD standard spec it could only 16-bit. And then again, it depended on the "standard" format they were trying to sell, and for anything beyond CD standard, they wanted you to buy their new multi-format player... I actually got comfortable for a while, with DVD/Blu Ray audio remasters that contain many excellent quad (and other format) renditions in something that most people with a DVD/Blu Ray player and a basic 5.1 home stereo can enjoy, -if you like hearing those mixes, as of course I know some people are still happy with mono. I happen to like some of the Pink Floyd classics in the quad format, and the 5.1 mixes are almost invaluable. I recently got the 5.1 Blu Ray of "Animals", and it really seems well done. But now of course, it's all changing again, Dolby Atmos is getting all the studios hyped to pull more money out of the old mixes, and some Atmos stuff you can't even buy on physical media at all, you have to subscribe online. It never ends. Ah well. -Not really any "secrets" to quad, or anything else, just another set of choices - if you can afford them!
  4. As far as OneDrive troubleshooting goes, the 1st simplest method is to disable OneDrive in the Apps - Startup list in Windows, then reboot. -This would for instance let you see if that app is causing the crashes, but without "dismantling" it entirely. -Now, I personally do not run OneDrive on my DAW PC, but in theory if it was set up properly, other than the hit from system resource usage you can't avoid, there may be a way to allow it to run without conflicts, and perhaps you may need that if you are backing up other important data to your cloud storage. But following someone like @msmcleod 's advice (and search these forums for his backup scripts) may get you better results. As often repeated in these forums, optimizing your computer for running a DAW is highly recommended if you really expect reliable performance. Otherwise, I find that most modern off-the-shelf PCs are so full of (unnecessary) junk from the OEM to begin with, that cleanup is almost mandatory, -especially if you begin having DAW performance problems like you have described here in your original post. At the very least, temporarily turn off any unnecessary apps and services while you troubleshoot. That does take some work, however!
  5. -Basically, the project files can be located almost anywhere, and as long as the location has no access issues in general, it should work according to how well the particular computer access works for that location. -In other words, a reliable, fast drive should work fine, if not better than using the system drive. Personally, I recommend saving projects to drives that have been set up specifically for the purpose. Things like assigned drive letters, and fully supported files systems for the type of files you want to use, are also as important as having a good performing device. -And as always, organizing the files into project folders is highly recommended, even just using the defaults for creating and saving new projects should get you that, but I wanted to make sure that is clear, just in case. Everybody has their own preferences for saving and archiving projects, and related materials in an organized fashion, but again, in general, saving to a location other than the default is fully acceptable, even best in many cases, than the basic default. For instance, all of my primary project files are located and run from a secondary storage drive, and I have done that for many years, it works fine. -Also, I highly recommend not saving the primary - running projects to any folder that is also synced to OneDrive. -If you want the backup benefit that app offers, set up a system to copy backups from the "offline" primary location periodically as an alternative. -That would be my suggestion.
  6. It is a given that "most memorable" impressions will change with time, and of course that some of us haven't really had all that much of a history with concerts. But it's really fun to hear everyone's story here, and it helps me imagine what I certainly have missed over the years! So - The most constantly repeated live concert experience I can relate, is always: Being at one of the initial LA performances of Pink Floyd presenting The Wall. And from the seats my friend and I had, I was able to look down through the stands to watch as the 4 main members queued up (after coming from the central massive command & control pit in the middle of the floor of the arena, which we could also see fairly well). and then marched back to stage in front of the then "torn down" wall blocks to play the end coda (which on the album cycles around to become the intro). And Dave's solos from atop the wall, with backlighting beams were spellbinding in retrospect. Most of it all just flew by at the time. Probably the other concert memory I hold most valuable was in LA as well, and was simply an early-80s Halloween concert headlined by Pat Benatar & her band (and hubby lead guitarist). The whole experience was actually what makes it work - driving some female college friends and myself there, trying to dress & act "punk" (as if) and walking along some of Hollywood Blvd. before the show... the mix tapes in the "SuperTuner" in my beat-up old GTO junker on the way & back, the Police tunes I had never heard, etc. -The actual concert was good, to be sure, and I thought that the Halloween mood and decorations really fit some of the showy pop rock of the time. The drummer really surprised me with how much he could get away with practically dancing off his throne, whilst still keeping time! And for some reason, I always think back to the way getting tickets always seemed to be such a scam, I was really nervous about whether the Floyd tickets would actually show up in the mail. -Some things still haven't changed, I hear!
  7. For me anyway - the heart of any licensing model issue (or for the idea of "owning" anything), is first and foremost the concept of having the ability to continue using the tool (device, software, what have you), in realizing the personal functionality, creation(s) - etc., that you originally obtained or started with said property. The idea of "perpetual" ownership is less important to me than simply being able to at least continue to use what I originally bought. -I realize that with software, and modern capitalism in general, that is often difficult to guarantee. In this instance (CbB and Sonar) - as of the information and track history at the time I am writing this - there may be no such promise of "perpetual" use - yet, but, from what I have seen so far, prospects are good that I will still have access to my old existing projects & materials in them going forwards. And it is all still moving forwards. Almost 6 years of a free subscription to CbB, with continuing development and new full products in the ongoing stages of development speaks for a lot. -Yes, that may or may not develop into something that can be licensed "perpetually". Only time will tell. That works for me right now, and we will see how the rest continues to develop. -Not a perfect world, for sure, but change is inevitable, and working with it as positively as possible may be a lot more enjoyable, in my experience.
  8. Nice. When I happened upon a demo disk on an Amiga 1000 in '87, and played some drum samples via a key press - it really fired me up. -As for piano roll mechanics, I was already familiar with that, -as well as the workings of music box (chimes) & such, so when I opened up a few drum editors in the 90's it already made sense to me then. As for track & mixer layouts - I had been using multitrack tape & mixers for a while, and tracks are just like stripes on a linear tape, and mixer channel strips, are well, mixer strips. Most of it seemed like physical emulation right away, for me. Wish I could find that Amiga demo disk (or virtual one now) I originally used. Just for nostalgia. ? Amiga emulation is so easy now.
  9. I will check out some of those sources @Glenn Stanton - thanks! I did already go through Toontrack - since they have a MIDI store connection right in the apps, which once synced up (I hadn't used it before) is a fairly extensive library that lets you preview in fact, it was interesting. My recent search focus is a bit off the popular track though, I've found very few patterns based on brush kits - probably also since there are so very few kits with brushes included. I have found that utilizing MIDI grooves is always best within each vendor, although technically I can often use a drum map to re-route most of the simple 1, 2, or 4-bar offerings. But again, in my case, even finding a pattern mapped for brushes at all is where I am getting no results. I will keep looking though!
  10. Indeed! That video clip - nice that it is fairly straight forward performance snippet. I have a few "Long Distance Voyager" cover tracks on hand, but I have skipped "Night In White Satin" and songs of that era so far. That clip sort of makes me want to add it now (the song itself has a place in my dusty HS dance memory), after seeing them do it live, just using the mellotron & regular rock band kit. And Justin's stuff always works with my vocal range. Hmm. RIP Mike Pinder. Days Of Future Passed. Sigh.
  11. As it happens, I was looking at some of my drum samplers, in search of sounds & patterns for pop/country style brush material lately, and I just created a few drum maps for AD2 using the AD2 Default layout. -Not much help for my search, since as it turns out, I have no AD kits with brush samples, but at least I refreshed my memory of some of the basic articulations available in Addictive. I have also attached an .ins file, for at least importing note name mapping for optional use in the PRV should one choose to do so. FYI: Some of the note naming may be odd, and though I have made a basic check with a simple AD2 kit loaded, I can only apologize for any errors or renaming choices (drum map character limit made me change some naming). -Anyway - maybe this can help getting things going, as of course making your own maps will usually wind up being the best. Mileage & wear may vary! If the attachment feature here does not work, just DM me some info to get you copies. -Also - ? Any good suggestions on finding MIDI patterns (grooves) for pop-country (like basic shuffles in 2/4, 4/4, etc.) style covers - that I can quickly adapt? ? AD2 Defaults BasicPopKit 2017 .map AD2 Defaults Brush+PopKit1 2017 .map AD2 Defaults Std Full 2017 .map AD2-Default-NoteNames2017.ins
  12. If the audio track is not active, Input Echo is not on, etc. (the post explicitly states that the track "is off/muted") - then the most likely explanation is that the "live" pass-thru audio from your sound input device is also being added to whatever output you are monitoring with. For example - can you hear your mic without any DAW tracking set up - or running at all? If that is the case, you may want to find information on the method(s) available to you in changing the sound interface pass-thru monitoring options. It can be especially important with the way that effects will mix in your monitoring. The extra delay from latency alone will likely mess up your autotune performance until you find the right mix setup.
  13. Yes, "Automation" in that dialogue refers to the basic track inspector tool (Volume fader, etc. - plus more for MIDI tracks (i.e. Controllers) automation items - and then additional sub-menus for effects (in the track ProChannel and FX bin) automation items. -And, FWIW, I have come to notice that using that selector dialogue also defines what envelope will be prominently displayed in the track view, and often immediately editable, especially once you expand the track view real estate. So, for instance, when I want to quickly edit the clip(s), or automation separately, etc., it really matters. -When I am being OCD about my mix, I often make sure only the items I want from each track are active with that dialogue, and/or sometimes just to "point out" what I need to remember is happening on a track. And, in practice, I mix up (pun intended) using the "active - record" automation item creation, with the manual-dialogue method, determined not only by how I want to approach entering the changes, but sometimes it just needs to be done at least initially to even have an FX automation item show up in the lanes/automation selection menu at all. That's been my experience anyway.
  14. The final audio - in the track itself. -Since it wasn't specified, that would not normally affect any signal level to inline fx plugins (ones in the ProChannel or the FX Bin of that track) in a basic routing situation. Do take note however, that depending on how you use fx, the matter can be complicated by using sends or other routings, to fx elsewhere in your mix, sidechain inputs, what have you, just to be clear. -Using the signal flow charts referred to in other posts, and in help, really can be worth a look.
  15. When using Cakewalk under Windows in a fairly default setup, -that is, allowing things like Windows Security to stay active, I have long ago found that adding all of your VST folder locations, and even the Cakewalk Core main executable and the Shared Utilites - VSTScan one as well, to the "Virus & threat protection settings - Exclusions" list, removed all slowness from my VST scans, except for some Waves plugins that still are probably misconfigured. My example is from Windows 10 Pro. In fact, loading some large libraries (ahem, Kontakt) for VSTs themselves can be sped up as well by adding them to your Security software exclusions lists. -Remember, however, that if any security risks are somehow loaded and then accessed in any of those locations, you may be more vulnerable. -Depends on how you prefer to manage your system, as is the preference of whether to have VST scans run regularly, or just manually. -That has been my experience anyway, of course, your mileage may vary.
  16. Probably the age-old happenstance of HDMI audio in say, a monitor driver, which whenever the monitor goes to sleep, the driver unloads. Try a search for "HDMI audio disable" (or something along those lines) and you will find many suggestions and cases to try solutions. -I gave up on that one, simply because every time the monitor drivers get updated, the problem comes back, and It's not critical enough to reset every time - for me anyway. I just try never to allow my system to sleep while the DAW is running, and that has "fixed it" for me.
  17. -You've definitely not picked a "nice and clean" MIDI file, or at least judging from the rest of your post, not one that has only what you want to start with. So, without delving into all the possibilities there, I suggest trying another import/project version, and cleaning up the MIDI manually - before trying to use it. I do that often with MIDI files from outside sources. Basically, I recommend deciding what MIDI you do want to keep, and then using a tool like Event Viewer to strip out anything else after you import the track(s). -For instance, I often keep the MIDI notes, and any expression items I don't want to recreate, and go from there. Using the Event Type filter in Event Viewer can be good for that, especially if all you want to keep is the notes. Just un-check Notes in the view filter, and then delete everything else in each MIDI track you want to clean. -Oh, and it may also be necessary to delete any Sysex banks from the imported MIDI as well, depending on how you imported the MIDI initially. -Once you start clean, it's much easier to go forward from there. -Just a suggestion!
  18. Per the original post title: (in my experience anyway) - The "Bit Depth:" portion of the File Stats dialogue generally reflects the highest reported level of any of the audio clips in the project. (What the audio engine does with that is another issue entirely) -Simply that. -So, for instance, when I record into an empty project, and my audio driver is 24/48, this dialogue will say Bit Depth: 24 after the recording is done. If I then process the track (export to track/clip, etc.) and the settings I choose in the export dialogue are 32/48, and I then integrate that audio into a new track somewhere in the project, this dialogue will then say Bit Depth: 32. -Now, I haven't tried all the variations of mixed source material, but again, in my experience, this dialogue only reports the level of the highest bit audio clip in my tracking. I have also double-checked, and when I remove the higher level audio, the dialogue changes back to whatever is then left, or the general settings for a new project, -whichever actually is reflected in the audio clips present.
  19. Speaking of "strange new characters" - and possibly AI interference... The post above that quotes one of my earlier chunks of grumbling - got a bit of unwanted malvertising added to it at the end (don't give them the clicks and look, but it's there) - it just never ends. -Of course, we've had unwanted re-use and attribution of our online data now for years, but it all seems to be ramping up these days. -Strange new characters will likely be the least of it. Sigh. Oh, and don't forget, now there are a zillion new ways to add emoji and various stuff in with your text, so be careful... Does anybody else remember just having to look up symbols to add to text using the character map? It was awkward, but at least I got to choose them myself!
  20. After you sort through the vids & comments, you may realize the "keys" are heavily mixed with tracking that involved wine glasses, so no matter what other instruments you use to try and replicate the intro section (Part I), it just won't quite be there. -I had found that years ago, when watching & listening to the extra material that comes with the "Shine On" Immersion set. The Wine Glasses audio is on there, and if you add it to your cover tracking, and find where the chord changes match, you are almost there. -Neat stuff, if you like those classic tracks. I had to grimace at some of the lead synth attempts though, and as one of the supporting OG live reincarnation members (ostensibly) commented, the way synths were recorded back when, involved actual speakers & room ambience, plus many takes & overlaps, etc. Plus that group tended to mix in a lot of other material from previous sessions in & underneath the final outcome. But we all know how that goes, and in analog, nothing is ever the same twice anyway. -Still, fun to try sometimes. @Rain Nice. And - I like that shortened whammy bar he uses so much, I had to get one. -Just wish I had the chops to use it nearly as well!
  21. The way I now look at that workflow, is just like what I tend to do with many preset items: In production projects I create subfolders for the presets, and then they are quickly available, but not loaded. So, for VSTi tracks, I create a track template that can call up the instrument and patching. Additionally, as I go along, I may "steal" an fx chain and/or track template from another project, if you follow that logic. -Works just the same as what many of us do with basic presets of many kinds. -I don't tend to use "deactivating" things, except to test or minimize overall load in a complex project when that's the simplest path. In my experience also, FWIW, the memory & CPU load with various VSTi plugins varies widely, some do little without input, some are always active.
  22. 8Dio & others will be more customizable, and because they have more dynamic range, often seem less "punchy" at first. But often times we don't need all that, and something basically pre-mixed like the samples used in the TTS-1 and its cousins can be all that is needed in a pop mix. And that's what most GM sets were created for. I reluctantly still have to plug the older Roland GM samplers, like TTS-1, because for me, they have had some of the most usable & affordable sound sets, with for my tastes some great metallic percussion samples since the late 80s. You should listen to the metallic percussion card demo song on an old R8-M - that one still impresses me. So, it's often that I also refer to TTS-1 for things like steel drums in a quick mix. -And, FWIW, on my systems, that DX only crashes on a few initial project setups using downloaded MIDI, but once I clean up the tracking, it never does it again. And I have tens of old projects with TTS-1 included that have loaded fine every time, for years now. -Of course, yes, eventually, it will go away... so I am starting to export all those things to audio, to be sure!
  23. It is most likely that you are simply missing a step in configuring the way Cakewalk uses the MIDI output of the Kronos controller data. -Normally, MIDI track input is a separate function from fader & other CC control. And in your case, what you described would seem to be the mod & pitch bend affecting an instrument connected to the track, not the track control itself. As @Wookiee mentions, you may want to look into setting up ACT control, in order to use the Kronos transport & other CC controls for controlling the functions in Cakewalk. I would recommend using the documentation available regarding ACT control, and probably using the Mackie Controller preset, if there is not an available preset for the Korg Kronos. -With proper setup, that can work to allow both MIDI keyboard input to the track, and fader control to the DAW faders, and so forth. -That type of functionality does not happen automatically, it has to be turned on, and set up properly first. It can take a bit of work at first, but once you get the instructions working for you, you can also adjust it per your needs.
  24. Sorry to hear that, but what you are describing is a bit unclear. For instance, most of the time, VSTs that the DAW uses are separate from the presets that are saved from/by/for them. I would be worried about needing to add a documents folder as a VST scan source. -Yes, there will likely be presets saved in the documents folder, but it's not normal to place/source the VST dll file(s) there. Are you sure you didn't somehow move the VST files to the documents folder(s) somehow, or delete the ones in their original location(s) at first? Did you mean that you also lost the VST instruments as well as the presets at first? -It's a bit confusing. A VST search path in CbB is only for the VST .dll files, -not the presets. The 2 items are not the same thing. Normally, VST .dlls are not located in a typical documents folder.
  25. Definitely sounds like a MIDI driver and/or hardware connection related problem. And, I have actually experienced a few USB MIDI connection failures over the years, sometimes just the USB bus in the PC drops the connection, sometimes it's other reasons, but never something within Cakewalk itself. That is a tough one to troubleshoot sometimes. Sometimes I have had to re-allocate my USB devices, or add/remove a hub, etc.
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