Glenn Stanton

too late. between the auto-wreck causing miscommunications all over the world and nearly every language, it's also pissed off the SETI folks trying to communicate to the aliens who have effectively replied "you don't talk about my mother that way slime!!! prepare to meet your doom!!!" (or something like that, i don't read Klingon well).

maybe save a copy of the preset which is in tune to "default"?

yeah, no saving sucks. but it's easy enough to stream what you're listening to to a file using any number of methods, so export won't be the problem. so, while the subscription is effective, it would be time to check on the status of your project backups: - exported all tracks as WAV, raw + printed FX versions - exported all MIDI + mappings - FX settings all saved as presets in the FX format - copius notes (FX settings in case your new DAW cannot support it, or the FX subscription also runs out and you need to substitute, automations, mappings, etc etc etc) this way if you need to continue using another DAW, then you could generally pick up where you left off.

i'd check - make sure you're up-to-date because perhaps Ample found an issue and updated the app + samples; if up-to-date, then i'd reinstall to be sure. also, is this purely in solo mode or with other instruments? i found sometimes i tweak arrangements because some instruments over overlaps which cause the beating or wierd telephone ringing type noises...

maybe it's my selection of SF2, but a number of old projects (2003?) i decided to listen to, were using my soundblaster and SFZ app, so i replaced with the sforzando and using the same SF2 source files (important - i was able to do this fairly easily because i had lots of notes saved in text and PDF on the instruments and settings, otherwise would have been very hard...) and they worked as expected (drums, percussion, piano, organ, horns, bass, backing vox, and a few oddball sounds).

sforzando (free app) will load SF2 (technically "converts" it) and is very useful. i have hundreds of SF2 now in my sforzando cache. https://www.plogue.com/products/sforzando.html

in addition to treesha's recommendation on using Melodyne to tweak things, you can also adjust tuning via the Ample guitar app itself: and depending on if you're using the full version or the lite version, will give you more or less samples to tweak. then save your adjustments as a preset in case you want to use the default tunings.

for me - when recording - i can set the latency really low (say 8-32 samples = ~4-5ms roundtrip) (if needed, some things like not using the track echo but rather the live mix for recording let's me set it much higher). for mixing, i set it to a minimum of 2048 (= ~100ms) and add read caching (2Mb) as well. this relieves a lot of stress on the CPU and other system components. not sure of the value in mixing with 64 samples when it doesn't really matter...

it sounds like it should be a good thing - however - it appears to have cracks already with people complaining about the amout of work (re-work?) needed to successfuly interchange projects: incompatible metadata on "standardized" versions (e.g. v1.0 and v1.2 cannot readily interchange unless updates for both programs), missing plugins when same company in AAX format and VST format are slighlt varied naming, corruption of audio files, MIDI data (yeah, we're looking at you SO... lol) etc etc. so i think it's wise for Cakewalk to ge their stuff together with their two DAWS, one of which is multi-platform, and perhaps revisit the Bandlab interchange as well before taking on multi-vendor DAW interoperation. i'd almost prefer having something like ARA interchange between multiple DAW which are active at the same time or on the same network etc vs file interchange (it is the 21st century, and if we're denied flying cars, then at least give us interoperation across active applications ... 🙂 )

yeah 'cause hitting the ellipsis ("•••"), selecting Report, and checking a couple of boxes is a tough one...

all tracks are routed to the "master"? as a note, most of the default templates have a buss named "Master". this is routed to the H/W output. - is the vocal track gain control set to 0? (or whatever is the correct level)? and your metering for that track is ok (sounds like it is but check it) - if you solo the vocal track, does the level jump up? (this eliminates other tracks as possibly a cause) - turn off any sends (or delete them if you added them by accident). perhaps an aux channel was added and is reversed polarity?

prepping for a post-EMP world where only tube electronics survive, i'm backing up finished songs onto vinyl. https://teenage.engineering/products/po-80

it's the VST3 fault, not CbB nor Sonar. the removing the .vst3 folder extension is a workaround for a faulty implementation of the VST3. i have probabyl 6 or 7 which needed this "fix", but then after the dev folks were alerted to the issue (and likely from any number of people), most of them updated correctly and now work fine with the .vst3 extension on the folder.

whenever i see this in a "blank" section, i split and delete out the section. then i may at some some point bounce the clip, but it never reappears after that as it's pure silence (which seems to be different than nearly silent). not sure if imaybe there is some noise sample or DC (or both) which is very very very low (and massively zooming in appears flat) but is something the waveform drawing process decides to display. in most cases, i'm slicing out long sections (workflow thingie) anyways to ensure no possible noises as a habit, and i just ignore it unless it's something in and amongst audio i'm keeping (and in which case is usually some noise - pick, electronic spike, mouth click etc).

you can connect additional units if they're all using the same driver. i have the UMC 202 HD and the UMC 1820 and can connect and access both because they use the same driver. but - for expanding the 1820 unit directly - your best bet is the optical route.