Glenn Stanton

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

so the answer was: remove the realtek ASIO and keep the ASIO4ALL. if you're not using it, the ASIO4ALL doesn't cause any harm. the RealTek software on the other hand, i simply remove the registry settings and disable all the realtek stuff in my device manager. if you uninstall the devices it will simply come back... oh, and use the WASAPI...

i just open the ones i'm working with and cycle through them. this way i can tuck them away in the synth rack if i'm not editing something, and i get the full screen or scalable version so i'm not squinting so much ? and if you simply minimise the synth window, then clicking to open it is nearly instantaneous... same for FX... of course if you had a couple of screens you could dedicate one for stacking the synth windows...

the track you show is the MIDI source to EZD. and EZD is not a source of MIDI output, so it won't show up in the sources list... you can drag MIDI from EZD to the MIDI track, you can use the MIDI track to trigger the play on EZD, or write your own MIDI notes, use the step sequencer to generate them, drag in MIDI clips etc etc etc. the audio tracks you have setup are the sound outputs from EZD. as reginaldStJohn noted, you could assign multiple MIDI tracks to feed EZD - for an example - if you have a clip your imported and wanted to separate the instruments into separate MIDI tracks so you can do other things to them - you could splt that clip across several MIDI tracks using a CAL script then modify each independently (e.g. maybe you want the highhat pattern separated because you'll tweak it and use it for tambourine or shakers - and use a wholly separate VI to perform those)

ah you want the background of the clip to change, in my exmaple the content of the clip follows the color. David has the idea on the color of the clip background so setting it. if that isn't working, it may also be that the new Sonar themes are not quite there yet ?

thanks! i fully understand mix scenes. i don't use them because my workflow is better without them. that said, if at some point i want to change, i may go back to using them like i did what? 5-6 years ago? i just find the workspace thingie more quickly configures the space and tools for a given step and let's me switch rapidly with depending on any coupling to the project file.

that was the link i posted earlier...

so you're saying the track color is not applied to the new clips after you're done recording them? or you're saying that while you're recording they're dark gray? for the former - turn on the track colors. for the latter? no idea possibly a feature request.

in general, the clips use the track color setting: in the preferences, i check the "show strip colors" to make the tracks use the color (the small knurb on the left end is where you select the color for the track).

i never use the mix scenes. i use the workspaces instead since they transcend the projects... but whatever works for you will, erm, work for you..

the VST3 is a Steinberg specification which is licensed directly via Steinberg. if you develop to those specs and test rigorously, then the plugin should work in almost any DAW. https://steinbergmedia.github.io/vst3_dev_portal/pages/VST+3+Licensing/Index.html

for sure. i have several templates - a "raw" one for when i need just a couple of instruments ready to go, a "record" template which has all of the tracks, insturments, etc ready and wired - i simply remove tracks and instruments versus adding them (most times), and a "mix" template which mirrors the record template w/o any of the instruments or MIDI tracks - everything goes into the mix template as audio (like when i do client mixes). i also have a "master" template for assembly of 2-tracks and either individually or as a "album" layout the tracks and do most of the required "paperwork" as leveling/eq/compression needed in small bits. and a "compose" template which has a couple of instruments and some "generator" tools. i also have a couple of variants of the record/mix which are using SSL, API, or NEVE plugins to simulate the "console" effects like channel strips vs independent plugins. i use the SSL one a bit more tha the others as clients will share their projects and many have some specific SSL settings they really like and i want to recreate those. then i switch views with custom workspaces for tracks / console views, busses / console views, or just drag the busses/tracks back and forth on console view. very fast (for me). some examples: DAW template - 01 - process.svgDAW template - 02 - mix.svgDAW template - 03 - workspace.svg

maybe your keystroke setting got removed? if you right-click on the clip and select "Region FX -> Melodyne -> Create Region FX" what happens?

weird because i just updated them yesterday and they're working fine in my Sonar & CW - True Dynamics, True Iron and KClip3. and yes, some companies are blaming CW for their poor implementation of the latest VST3 spec - and some of those need to have the .vst3 folder extension removed so they work. but many of the properly implemented ones work fine.

both google, onedrive, some stuff into dropbox and very rarely icloud for some clients

i use a 4TB SSD called "cloud" and except for my C:\ documents folder (OneDrive by default), all the other stuff is backed up there. i sync from my local drive to the cloud drive, then the cloud services sync to/from there. cost - an external USB drive (~$200)? the benefits? i have a local backup of my stuff + the clouds. and my source materials are never at risk from the cloud services doing weird stuff.

so, you have your serial number and activation #'s handy? then you run the standalone version of the app as admin? you enter the serial number and activation #'s. then what happens? you get an error?

so -- using WASAPI will work as will ASIO4ALL. the UMC22 doesn't have a native driver like my UMC202HD or UMC1820. https://mediadl.musictribe.com/media/PLM/data/docs/UMC/QSG_BE_0805-AAR_U-PHORIA-Series_WW.pdf

yes, so why fight it?

i'm still waiting on the free version of a Pro Tools professional version, since i've used it since the late 90's and since i've paid enough into it over the last quarter of a century... not holding my breath though...

so, in terms of the understanding established to some degree on this forum: SONAR (all caps) = SONAR and derivatives from pre-Bandlab days. Sonar (proper case) is the new DAW product from Cakewalk (a Bandlab brand). think of it as "case sensitive programming"

generally speaking - if you're doing sound library or video work - use 48K/24. while most modern same rate conversions can be fairly transparent, i'd go native just to avoid the extra work and any artifacts.

damn Beatles! always so loud are they! always making the girls scream they are! [your best yoda voice]