Glenn Stanton

one option if your interface allows it, use direct monitoring and turn the echo off on the guitar track so you can listen to the other parts and hear your guitar in real time (presuming the 5.5ms round trip is still too much). if you're using FX on your guitar track while recording this can also cause the timing to be off depending on the FX and if you're using the PDC or not (which is the delay compensation to ensure all FX etc play at the same time - you can try to turn it off (press the PDC button).

run the standalone as admin and then enter your serial number and activation codes. it should then run as a normal afterwards.

my personal mic - an AT 3035 (discontinued https://www.audio-technica.com/en-us/at3035) - just works for my voice as does an SM58. for many people, i found my Behringer B-2 Pro (https://www.behringer.com/product.html?modelCode=0504-AAC) is a miracle for vocals. no idea why a $200 mic made by the evil B corp does it, but i've used it live as well and people singing (meaning people who can sing and thus should be heard in the best possible way) just comes across as natural. i have seen negative reviews by some people and likely they got the lemon model, but most reviews list it as really good.

i think one of the advantages of using the envelope vs snapshots - when you have write automation on, it will capture all the changes for that track (and creates a bunch of envelopes to do it) whereas the snapshot, if not mistaken, you need to select the controls you want to snapshot and it only creates the point on an otherwise open envelope. you can always smooth and edit the envelopes laters if you need distinct shifts in settings. and remove any extraneous ones as well.

loose contacts. solder joints inside which may have deteriorated over time.

did you set any optimizations for it? one is to exlude it from the A/V and any cloud services which can greatly impact performance. also the IO of the desktop is likely way better than the laptop... also check your video settings etc.

i usually just double click on the MIDI file to open it in Sonar (or CW) and select a track and edit -> copy special: then in a new project i'll insert it via edit -> paste special i'm sure there are other methods but i find this fast and reliable.

i dunno, i think killing any hope off first extends the misery indefinitely versus giving any possible glimpses of hope. the grueling endless darkness while at first seems like respite from the cycling of hope on, hope off, is much better. many corporations are good at this but then again, corporations are really just like collective evil from persons...

generally, the automation write is the memory. otherwise you'd want to render which section with the EQ and FX before recording the next segment. or you'd create an envelope for each of the things you want to adjust. and the other option is to do the automation after you record the raw track giving you the ability to tweak and make transitions in a way the more static approach could not. i tend to record clean (one track) and printed FX (one track). almost inevitably i re-use the raw track into an aux track with FX and automation because i have some idea to shift some aspect which the printed track would not let me do. there is no "snapshot" per se. the envelope contains the "knowledge" if you're doing this as sound design then if may be a different workflow.

honestly, i forgot to do all the prep stuff i did for the v14 from v12 updates and just ran the v15 updates (5 plugins (out of ~70) are still v11 or v14) when finished, i did a reboot (always after a massive updates on my system regardless) and then ran the plugin scans on Sonar, Next, Komplete Kontrol, Acoustica, RX, Ozone, Sound Forge etc. and weirdly not a single one reported a problem with the Waves stuff! LOL. Acoustica flagged the instruments as not being FX (like usual). one note: during a load of a Sonar project after the update, i go a toaster notification the settings for the H-Delay Stereo might not be set correctly - when i checked - they were set correctly but i think the new split channel on the Stereo version meant Sonar had some gaps from the previous version when reloading the project settings. i opened up a bunch more projects just to check and did not see this warning again and all settings were correct as set previously.

for now, i just gave up my two of my weekly Starbuck grande decaf no-fat grass-fed goat milk mocolatta with vanilla caramel to cover the $15/ month... ?

you probably want to run the clear cache function on the Waves central and do a fresh install. generally i've haven't had a significant issue with Waves for 5 years or more. and the support is usually fast to get back to you.

there is the "tools editor" to add an application to the list of utilities. generally for myself - i check all the files before adding them - so noise, clicks etc. or use my RX etc plugins inline then render. i never found the editor tool approach work well for me.

a blues song about how relationships can teeter on the brink for the smallest of things and the effort to repair it. i was originally not going to make a new version of this song but then i was doing some experimentation on 6/4 vs 6/8 and ended up using the chord progression, and for some reason the song just reassembled itself. vocals as well. comments welcome. from my reimagined relics collection of old and new material. https://www.reverbnation.com/fossile/album/312545-relics BPM 140 Meter 6/4 Key Dm --------------------------------------------------------------------- Lyrics --------------------------------------------------------------------- four in the morning that's my pillow there fussing and fighting always then you say you don't care you tell me if i loved you then twice the fool am i i said why? baby, it'll be alright baby, it'll be alright baby, it'll be alright |it will be all right| out in the street night the rain in your hair fearing that look in your eye when you say you don't care you tell me if i loved you then twice the fool am i i said why? baby, it'll be alright baby, it'll be alright baby, it'll be alright |it will be all right| [solo] out in the street night the rain in your hair fearing that look in your eye when you say you don't care you tell me if i loved you then twice the fool am i i said why? baby, it'll be alright baby, it'll be alright baby, it'll be alright |it will be all right| [break] baby, it'll be alright baby, it'll be alright baby, it'll be alright

couple of thoughts - you might exclude your CW from your A/V and make sure any cloud services are not conflicting with the app and any plugins which might use say OneDrive for caching etc. have 40 A/V instances running is not a great thing... if the Autotune isn't able to use ARA then region FX may be limited to the plugin handling of the separation files etc used to keep memory under control and the overhead within the DAW.

might be time for the doctor. the plugin doctor... https://ddmf.eu/plugindoctor/

in BIAB - there are two distinct options for setting the key: one sets the key and changes the chords etc, and the other simple sets the key and leaves everything else intact. in the latter, it may influence some of a regenerated performance, in the former, it will definitely change things ? basically been this way forever (measured in BIAB years)...

pretty sure CW (and Sonar) don't support anything other than DX (or equiv for MIDI plugin), VST and VST3. i seem to remember some threads on supporting CLAP. in my setup, i have some apps which can use CLAP, and of course PT uses AAX - so if a plugin installer has those i usually just install them as well even if they're not used in CW. the PT AAX go into the stock AAX plugins folder, and the CLAP get installed into my C:\Program Files\VSTPlugins or some default to the Steinberg plugins folder. have not seen any LV2 plugins in my circle of plugins but it does look interesting: https://lv2plug.in/pages/why-lv2.html

i think she was comparing me in a relative way to actual singers who can sing LOL ? i think she got the idea of the description from some of the sesame street characters...

long ago, when my daughter was very little, i would sit in the room with her while she was going to sleep, playing my guitar and singing songs (mainly mine), and during breaks we'd chat. and since she was born a genius, she had lots and lots of observations to share. no, really. so i started to play a little ditty "she's right about everything... la la la" and it would make us laugh. later i expanded it a bit into a song with arrangement and everything. after about a year of this bedtime routine, she asked "daddy, why does your singing voice sound like a dying animal gargling on gravel and mucus?" ? -- silence -- me: "hey! i have an idea, why don't i put on a CD and we can just listen?" "ok daddy"... so now, exposed to music from people who could actually sing (Jewell and Kari Jobe were favorites as well as many others), she would sing along to the CDs until falling asleep. ? anyways, here's my latest incarnation of this song. feel free to comment. BPM 102 Meter 4/4 Key G from my relics collection which is a bunch of old and new stuff - reimagined. https://www.reverbnation.com/fossile/album/312545-relics Lyrics ------------------------------------------------ she's gone and she's wondering why gonna reach on out and touch the sky she'll only sail with reason a sentiment cause she's already seen it she's only four years old and i'd tell you why but she already knows because she's right about everything sit and listen for a while she's right about everything enlightened buddha makes me smile she's learned and she's wondering how gonna reach on out and touch the ground she'll only sail with reason a sentiment cause she's already seen it and now she's some years grown and i'd tell you why but she already knows because she's right about everything sit and listen for a while she's right about everything enlightened buddha makes me smile [solo] she's right about everything sit and listen for a while she's right about everything enlightened buddha makes me smile she's gone and she's wondering why gonna reach on out and touch the sky she'll only sail with reason a sentiment cause she's already seen it she's only some years grown and i'd tell you why but she already knows because she's right about everything sit and listen for a while she's right about everything enlightened buddha makes me smile

Ozone is algorithmic. it has a number of "profiles" and "presets" it can apply when it "analyzes" the audio and then tries to apply a set of modules to match those "as a starting point". Ozone is not a mastering service like any number of online services, it's merely a tool with some options to get an approximate set of adjustments. in some cases, it will overdo it. in others, it can be fairly minimal. you also need to do some work to set up the levels (for example) and profiles (pop, jazz, EDM, etc) that you are targeting. then run the "mastering assistant". done correctly, the master version won't be any worse than the online services. -- however -- as with all "AI" (marketing or not) -- YOU NEED TO CHECK THE RESULTS AND CORRECT AS NEEDED ? whether it's your auto-wreck feature on the phone or the "automatic orchestral magic" instrument, or the video with people have 4 or 6 fingers and other weird sh*t, AI is, at the very least, a crap-shoot at this stage. for me, like most other stuff, i have my Ozone templated for mix level "pre-mastering" as well as my "mastering" ones. and occasionally i will run the assistant just to cross check because in a few cases i've been surprised with the output (in a good way).

pretty sure if you were using Ozone to "master" an "already mastered" track, it wouldn't "think" anything (it's a tool, and the elements version is very limited in features). however, the person using the Ozone suite to "re-master" the "master" would likely think it was a poorly exported mix track where the mix engineer forgot to leave room for the mastering engineer... LOL.

for the "mastering" part of the process - increase your buffers to the maximum. make sure your CW / Sonar as added to your A/V exceptions. turn off your networking. bounce / freeze soft synths to audio etc to prepare as clean as possible. and don't touch anything while you're exporting. no surfing the web (remember you turned off the networking), no games, etc etc etc. go get a beverage, check the mailbox outside, get a snack etc. anything which generates interupts (like moving a mouse) can cause disruptions even on the most tuned system. Ozone is an excellent tool but as pwal noted it is a resource hog when loaded up, but you'll be hard put to find a better collection of tools in one package.

depends on the load. FX are generally processor intensive and calculating the delays and reverberation layers can get complex really fast. so for those tasks - intensive complex calculations vs reduced instructions on many more cores (GPU), probably there are some architecture choices in the DAW software. Intel probably is turning off the HT in "power cores" as they likely already have the parallel processing chains built in, or they simply want people to spend more money on larger CPU devices with more cores... ? or they're going to introduce some radical RISC set chips to take on Apple... ?

ah, so maybe the IO needs updated or the latest drivers as the support site indicates: the firewire interface needs to be a specific type (presumably you have that one from your previous system), and you'll need the Apollo ASIO drivers or using windows WDM. https://help.uaudio.com/hc/en-us/articles/205927069-Apollo-FireWire-Windows-Compatibility also this: https://help.uaudio.com/hc/en-us/articles/115001288543-Apollo-FireWire-Installation-Registration-Authorization