Amberwolf

If what you are using is the Cakewalk by Bandlab (CbB), shortly it won't matter, as you won't have access to it when it ceases to activate / function after the final timeout. (there are a number of threads and posts, official and not, discussing that if you need more info). But you can continue to use it until then. After that, you'll have to use something else. Sonar has a free tier, whose limitations are listed in the official threads for that, but at least it will still open your project files (whereas a completely differnet DAW software will probably not). I would suggest a test: Disconnect hte audio interface completely, and restart the computer to be sure Windows doens't thik it's still connected for whtever reason. Then start Cakewalk, and change the audio interface to whatever's built into the computer, temporarily. (this may automatically happen; if not, manually do it). Then open your project, and see if the problem still happens. If it still happens, it's not the tascam or it's drivers, at least. That would leave something systemwide, with windows or the computer's hardware. If it stops happening, then the most likely problem is a bad cable to the tascam, or a driver issue, or the tascam hardware itself having a problem. If the cable and hardware work on a different computer, and worked fine on this computer with the previous OS, then it's probably a driver issue for Win11, and you'll need to resolve that with Tascam.

Thanks for listening! Is the sub-heaviness continuous, or just where the "booms" are? (to make it easier to fix).

Any thoughts?

Kind of, except less so.

I stopped inserting that one into projects years ago, it was too annoying with that message constantly popping up.

Too bad they have no idea that they did that, or how it might be fixed, so that they could tell me how to fix their screwup. And they must have done that kind of thing multiple times in different ways to break every sound every single time they updated it over the couple of years I suffered thru their dwindling usefulness and stable inability to help their customers. They are one of the many reasons I won't use software that has to "log in", or web authorize, or force updates, etc etc. If I can't just download it, and put in the serial number, and use it, whenever I need to, I can't depend on it, and while if it's free I might use it on a whim, I wouldn't use it in a project, other than to generate some audio files and then remove it from the system before it's company creates problems for me, like all of these types of things always end up doing. These programs exist to help the artist--anything about the program that detracts from that, takes away time the artist could use to make that art, or actively destroys the art-in-progress like Spitfire did for me, makes them negatively useful. Any company that doesn't actively take the side of the artist in every situation where a conflict of function comes up, doesn't change the program to fix the issue, is usually causing the artist problems, and isn't helping the artist.

How long is the lag/delay? It is probably an effect that has a long buffer time, so that the total internal latency to compensate for that ends up much bigger than your pure audio interface latency. What happens if you disable fx in the project? EDIT: nevermind, you already said you ahve plugins turned off. I don't remember if just turning them off removes the added latency, though.

And (not having tested in anything modern) if it stil has the issue it does in my ancient versions of not moving bus automation...that too.

That surprised me not one whit, given their "support" back when I tried to use their stuff, and at every "update" it would break everything, lose all my sounds (some permanently as they just randomly took stuff off the "labs" after having provided it for free and wasting everyone's time in creating art with it that they then couldn't continue with), force me to waste my limited internet with redownloading everything every time, and have absolutely no idea why their stuff always broke like taht and zero interest in fixing it or in not taking away things they'd given us, or in improving their UI instead of degrading it every time they changed it.... Eventually I gave up and took it all off my system since I could never be sure it would still work or have the sounds I had integrated into my projects, or be able to make them work in the same way that they had when I started using them. And no, I'm not bitter.

Revamp of Intercept, Mk2 as a new track, so the old one is stil at the previous link. https://amberwolf.bandcamp.com/track/intercept-mk2-drywater-mars-part-4 First two minutes have been redone, a few elements the same to link them, the last half (post-attack) is still the same as it had been.

Is that a different version than this one?

which was?

That depends on how you are playing it, and whether you want the first note to continue while the second note is playing. (at least, on a real guitar).

Well...how far back are you willing to go? DR-008 was as fully customizable as I can think of (moreso than SD). I haven't used EZdrummer or Superior Drummer, but I have read posts about others here using those (don't remember if that was on the current bandlab version of the forum or the legacy one).

Would it be possible to use a midi message filter (probably have to be in a secondary midi host wiht a virtual cable connecting the hardware port to it and then another vc to sonar), to filter out either all sysex, just at startup (manually bypass the filter afterwards), or to filter out the specific sysex that causes the change (once it's know which one that is). ?

I don't know the answer to that, but: What is the goal? If you're using MIDI to drive drums, you could simply point hte midi track(s) to a different drum synth, or use a different kit in the drum synth you're already using, if you simply want different drums than you already have. If you want a different sound to the drums you are already using, you can setup different bussing or effects on the synth's audio tracks, etc.

In my ancient SONAR version, pressing the Enter key while a control is highlighted (in focus) provides that text entry box. Holding hte shift key while mousing drastically slows the rate of response of the controls for fine adjustments. Hopefully these aren't removed in modern versions. For controls in progrrams and synths that don't provide fine response rate modifiers, and for dragging notes, clip edges, etc in SONAR, I also use the response rate button on my trackball to change to a really slow cursor movement for precision (I have to do this more often than most would becuase I have such poor control over my hands).

I make a new preset for each track or bus with the project name, track/bus name, and then what i called the preset. (at leasdt, enouigh of each to get the idea across to myself so if I have to match that "sound" somwhere else i know what i need to pick.

Updated Intercept's first minute's percussion, music, etc., to better imply the threat of the approaching ship. https://amberwolf.bandcamp.com/track/intercept-drywater-mars-part-3

Thanks--that's what I do best: misuse things for purposes I need but that they were never intended for or conceived of. (doesn't matter what it is I'm doing, music, tranportation, sculpture, model-building, etc--if there is something that can be misused for whatever I am doing at that moment, and I have one there, it's likely to happen, as I probably don't have the thing that is actually needed to do whatever it is I want to do).

You shouldn't've shown it that shirt....

These are still available....please come take them (eventually I will have to throw them away ).

It is partly here already, with the Vocaloid performances, concerts where a CGI vocaloid or group of them are the focus of the concert. There are others that use them as an additonal performance, with real performers doing the majority of what's happening, such as Kodo's with "Hatsune Miku". (I like Kodo...vocaloids, not so much).

The technician effect. Which does not work on the technician's own systems.