Glenn Stanton

'zactly. they could have called it CLP (which sort of rhymes with VST)

maybe copy (import?) of a couple of those track clips over to a blank clean project and try to apply the melodyne there. just raw audio tracks.

in theory, melodyne is supposed to clean up the separations when rendered, however it doesn't for some reason, so take a look at it while you have engaged the rfx and before you do the render to see the actions. also, to set the directory somewhere else, you need to use the exe as the region fx doesn't have the option to set it.

the default for the separations folder is your documents folder (typically on your C:\ drive) ? and if you're using OneDrive etc to sync that, it's a potential spot for file handle conflicts. also and quota restrictions (not likely), or disk space available (possible).

a couple of things to do with melodyne - make sure the separations (temp files) folder has adequate space and permissions, and also keep it cleaned up. i have a dedicated folder for separations and transfers. i periodically delete folders on projects i've archived. otherwise it can build up quickly and if melodyne has a quota set, there is (like many programs using file storage and temp memory) it can result in odd behaviors. my setting is 10gb. e.g. folder

yes, the desktop machine. down to 32 samples and 64 samples. however, it imperative to ensure the project is minimal to record at that low level. so where you need effects etc for the performer, then you'll need to find another way to add them into the monitoring or increase the latency. so the AMD processor should do better in terms of maintaining low latency with some fx processing - but it also depends on I/O capabilities, system tuning, etc. my next machine will likely use a server type board with multiple physical cpu, numa channels, dma, etc to get the I/O to microseconds and shared processing across 128 cores etc ?

depending on the project - no fx etc, i've gotten the UMC1820 down to 6ms round-trip to record clean guitar, bass, and drums. if i'm not monitoring directly i'll bump it to 10ms, and mix time - i set it to 2048 in my ASIO panel.

i've been using the Samsung EVO SSD and just using the Samsung utility to clone the boot drives (so far - 10 machines) without an issue. boot speed has gone from 45 sec - 1min to 15 sec (most extreme - son's laptop went from 5min to 30 sec). i also use SSD on all my active drives and 7200 HDD for long term archive, as well as cloud backups. after about 3 years now with SSD, no failures or indications of failures. ( hopefully i have cursed myself by uttering those words ? )

i think you need to click on the [x] box next to the progress bar. probably an attempt to prevent people from inadvertently hitting esc. all i know is i only ever used the "cancel" [x] box...

why answer? in some cases, we'll have a documented set of answers to a question other people might ask, or better, find in a search ?

not literally, but rather, when you change and she doesn't... or perhaps vice versa. weirdly i played the guitar solo before recording the rest of the track. as a note: i actually couldn't find the source mix (it's likely in storage on an older disk at the moment) but i had the raw stereo export and thought the bass was too dark, so i used my RX7 to rebalance to mainly bass. then imported the main file and the new bass file into CW. added some maxxbass higher end, a bit of saturation, and 2:1 compression 3-4db. then created a hole in the main track so only the kick was coming through below 100hz. mixed in the new bass until i felt it coming through and tweaked the overall eq on both tracks until it sounded like it belonged. probably about an hour and one-half work total to "restore". so probably could fiddle with it much more (better extraction of the bass part, convert to midi, overlay other bass sounds, etc) but i'll wait until i get my disks unpacked to update it. it is useful (for me anyways) to know that doing raw stereo exports are a good safety net and i'm glad i basically do it at the end of a mix session in case something happens (like packing the original source files away...) and keeping at least 3 versions so a reasonably complete mix can be found...

so comparable to say Xfer Records Cthulhu or Scaler 2? using it as a controller to n# of MIDI tracks.

so, using a step sequencer to replace [drawing] envelopes? or are you intimating that you want to see a more advanced sequencing built-in to CW?

short ditty on the perils of youth in today's world... caution - likely has some snark in it.

i use melodyne to clean up - noises which may confuse the midi notes, perhaps some notes i may have hit incorrectly ?, maybe some amplitude adjustments, and the melodyne region has the midi you can copy and paste. i have the editor version so polyphonic is an option for me. generally if there is any quantizing, it is minimal and done on the midi notes before making copies and transposing.

lately (because my studio is packed up in anticipation of moving) i've been playing bass lines on my stratocaster, cleaning via melodyne, converting to midi, doing midi things to it, then playing it using the professor vst or even the CW studio instrument bass. but - i keep one line at the recorded pitch (guitar) and the main line down an octave (bass). then blend so these "overtones" are the same line (like an octaver)... then audio process - compression, eq, distortion/harmonics, Waves maxxbass or renaissance bass to add some "middle" harmonics (something 120hz etc), and also a ducking compressor side chained from the kick. depending on the material - maybe really crushed on the compressor, or very little. finally some eq (i like the Izotope masking feature) to fit everything as best as possible. the high pass usually (for me) starts at 90hz on the low end, and 300hz on the high end. and sometimes a pre-send to another track which allows some of the deep bits through, or simple a third midi with is an octave lower than the bass and minimal levels on that. still learning but so far using 2-3 midi tracks and various mixes of similar basses on one or more vst, or synth bass seems to be getting pretty close to what i'm looking for.

Kyle - take at look at the troubleshooting section and submit a crash report - Noel and team are exceptional at helping folks and if there are issues with the code - they're pretty quick to resolve them - if, somehow its something else - they may be able to identify and assist as well. for me, Windows Defender, OneDrive, and Google Drive (the latter two are set to back up my stuff, require me to set up exceptions in the AV to exclude the processes and folders to avoid having them scan everything, and i pause the drive software (usually for 8 hours because i'll forget if i've set it to 2 hours, and then suddenly weird stuff starts happening). also - i've found in some cases, plugin updates or CW updates (or even unrelated software) can mess with the runtime executables - so i'm in the habit now of re-installing the CW software after updates to my plugins and overall OS to ensure the runtimes are the ones that came with the CW. in theory, this shouldn't be necessary, but in practice...

ah! c'mon man! that is just plain cheating!! ?

as a note: some people aren't keyboard players. i can do a bunch but would never say i'm a keyboardist. and chordz and ripchord to help with complex chord-progressions. my brother, a keyboardist extraordinaire, on the other hand, has what seems like 12 fingers on 2 hands on each of his 4 arms... so learning new skills and applying them are all excellent goals. but there are uses for the rest of us who need some assist with keyboard performances...

i have the original NX and use my webcam to track head movement. i don't use it when i'm doing the setup and mixing, but as i get into the later stages, i'll flip it on and mainly using it to check balances across the listening "field" and turning my head to get the "speaker" directional sound. i think the tech is pretty cool.

or simply get all of them... Amplitube, BX, TH-U, Waves GTR, etc etc so you have choices... some may be better than others for different materials and instruments (e.g. an electric piano). i have a bunch of the free "tube amp" types as well - bundle those with a nice convolution speaker cabinet + a reverb and some VST effects and you can get some nice guitar/bass amps that generally sound realistic (if that's what you want), or far out (e.g. Z3TA+ as the effects ? )

true, but mine has the rust, embedded saliva, and teeth marks that you just cannot get with a new one ?

i bought a set of dental tools for fine work requiring hard tools - so i've used the paddle (not sure the technical name) tool to squish the foam in my SM-58 windscreen, so i thought it might be similar for the SM-57 - but perhaps not.

apparently the grill and foam assembly is not something Shure recommends pulling apart - so either take a chance to remove it and then re-attach, or perhaps soak in soapy water and squish it like a sponge to clean then rinse thoroughly. lastly dry in low humidity - like a container with rice. or as Shure recommends, buy a new grill and foam assembly for $22... https://service.shure.com/s/article/removing-the-sm57-grill?language=en_US https://www.shure.com/en-US/products/accessories/rk244g

not to mention the awesome designer ? lol i have to say, my Bose 901 are brutal to bad mixes. a good mix sounds great, a great mix - it's the reason people bought them in the first place. you cannot mix on them though, only listen. but if your mix passes the 901 test for goodness, it tends to translate really well. an older pair can be bought cheaply. otherwise, as Tim noted - mix on the best pair of monitors you can afford, and then listen on a bunch of other systems - headphones, mono speaker, phone, PC, car, TV, TV surround, etc and after a while you'll begin to know what you need to hear from your monitoring and room in order to get the translations.