Glenn Stanton

enjoy!

i think will will be interesting - i don't have an active ARM64 device i would use either testing or otherwise, but i think if it becomes stable on ARM64 i'd likely find a reason to get a more modern device 🙂

as a best practice - keep programs on the OS drive as many of them seem to want to be on the C:\ drive, and feel free to relocate "content" (samples, audio, etc) to another drive to save space, being cognizant of paths to the content - some programs do not like content to be anywhere except the C:\ drive even if you can use a directory junction (e.g. Waves feels like they've hard coded it, other easy peasy), and some programs need a configuration change to point to the content (e.g. Kontakt libraries etc usually just need some configuration love). in this case - i'd sort out your content location strategy and put content there, no programs - example - the VST3 programs should be on the C:\ drive in 99% of the cases because of what i mentioned about apps. so i'd look into other sources that consume too much space which are not programs and move those. secondly, i'd reinstall the TH3 program since something broke and trying to piecemeal it back together is a waste of time... as a final note - too many developers like to put their stuff into the program data folder (looser permissions) or worse, the public user folder (like SampleTank), and even worse your documents folder!. so pay attention to those locations... also get into a routine of cleaning up temp files, update backups etc etc which can eat up space.

you probably need to spend some time manually entering any delay compensation needed - find whichever source (mix or drums) is the longest and align the others to that. the physical connections (and presuming the mixer doesn't have some LCR networks causing weirdness) should have more than microseconds of delays (analog).

i found that simplifying the chords used and/or having chords span over several chord changes let's the solo generator produce smoother soloing rather than trying to create bits on each chord. for example, if there are 5 chord changes over two bars, i'll see if i can get an approximation using just 2 or 3 chords, and removing things like 7th 9th b13 etc (unless i am looking for more jazzy solo) 🙂

i use BIAB real tracks to generate solos - i'll create a project with the chord changes for the solo section(s) and an approximate style (or sometimes a wholly different one) and rerun the solo generate over and over until i get a performance i like (much like a session where it's being created by the player on the fly) then solo the solo track and export it. guitars and sax seem to work pretty well, many others are not so great. i don't use the MIDI because it never sounds authenticate, and converting it to MIDI is very seldom something i would do either.

for content and backups, a plain old HD can be useful - especially if you optimize the formatting for the sector sizes etc. definitely would want an SSD for OS and project disks though. $400 for the HD and install? you could get an external SSD for half that and a HD for about 1/4 of that...

i think my brother still has the original one we bought in 1972 or '73... LOL

ditto - in the Sonar folder:

one option is to move the MIDI forward or back slightly (more like milliseconds or 1/32 note etc) and see if that helps with the feel. you might then tweak the bass to acommodate that move as well.

Melodyne

https://www.google.com/search?q=what+is+audio+headroom

actually -6 to -12 is "increasing" the headroom by 6db (lowering the level of the peaks is going to quiet all things). going from -12 to -6 is "reducing" the headroom (moving the peaks up and everything else is going up as well).

i use the channel tool to set widths on stereo instruments - pianos, drums, guitars, backing vocals, etc so i can pan them while still having some width to them. basically a proper side-to-side balance within the overall stereo field is enabled (like in PT with the two pan controls on stereo tracks). another option (and i use this one without the channel tool) is using the surround panner to set the width, depth and position on a 2.0 or 2.1 mix.

one could imagine that the routing to several synths could be notes or controls. or each synth might have a MIDI track for controlling while listening to the overall set of notes, or vice versa... the ability to send several synths articulations or keyswitches might be handy even if they're playing separate notes (e.g. an orchestral part with trilling/vibratos across several instruments). however, v1 should probably just share all for all instruments "subscribing" to MIDI source. v2 - filtering rules, v3 - combining MIDI (ala patch point?) to allow separate streams of MIDI to provide notes and controls...