Glenn Stanton

pretty sure meter changes would be on the measure line, so if you have 3x 4/4 measures, then want to add 2x 3/4 measures, the 3/4 measures would start on the 4th measure: 4:01:000 and return to 4/4 on 6:01:000 not sure you can do it less than full measures...

yeah, that's the challenge. i think a lot of people who don't want to go down the road of mastering the tech in great detail usually learn enough to get a good recording and then take it to someone for mixing and mastering - including vocal corrections etc. one thing always impressed me is watching the John Lennon and Paul McCartney in a studio setting - how they were fascinated by the tech and learned to use it and expand on it in ways people are still trying to emulate to this day. it's somewhat amazing when Paul is doing some demo of his recording and he's just operating all the audio inputs and tape machines or laptop to get his recording... he then has his expert assistance doing the looping, rough mix etc in near real-time as well ?

i only have a single avantone cube for mono listening, and i like it. i use it extensively during mixing. the cool thing is when you final think your mix is sounding good, then you flip to the bigger stereo monitors and - wow! i am thinking of the new NS-10 active clones which have decent reviews.

it's not a bug because it is a manual step, and probably should remain so. making it easier though would be nice to have. i have projects at 44.1, 48, and 96K done at different times. right now, mostly using 48 (mainly because i'm working remotely and only have my remote rig which is limited to 48K and 16-bit) . i would not want my 96/24 files down sampled to 48/24 (files are always 24 bit, even with the 16 bit IO) when i just open it. i'd rather set my IO to 96/24 (assuming it can support, which it does on my home rig). same for a 44.1/24 project - i just set my interface to 44.1/16 (it's limited there but the IO truncation on the output stream is something i live with, the files are still 24 bit). in your case, you bought an interface which only supports 48K. so in that case you'll likely have to change the project sample rates on a project by project basis. presumably you're not editing or planning on editing all 200 projects...

are you rendering the region effect or just trying to "bounce to clip"? you need to render the region fx in order to incorporate the changes. one way (i do this) is to copy (clone) the track, do the region fx and render, then mute/archive the original. this way you can always go back to the original.

hmmm. it is strange. if i use a surround bus in 5.1 (with a stereo track feeding it), and route each channel to a separate physical IO channel (FLCR, Sub, RLR = channel 1-6 on my UMC1820) and it works as expected (i can pan it around a set of 6 speakers, for me to use my dedicated 5.1 cinema system, i have to encode it since it needs a Dolby (or equiv) stream). presumably you could use a stereo track and sends to go directly - you set it up for main out to ch 1-2, c and sub to 3-4, and rear to ch 5-6 - i do this in my UMC1820 and it is different than a surround buss because there is no surround panner - i have to balance it via the main and send levels to position it. i set up a stereo bus like a track - however - sending a track to this buss, there is no surround panner available (same as the track, no surround panner).

and once you go J-Bridge, there's no going back ?

a number of software companies offer bounties for finding bugs... not a lot of money, but whatever gets people looking and reporting them. of course whether or not the bug is fixed remains to be seen ? and then there are "spellcheckers and grammar checkers" (like auto-wreck, er, i mean auto-correct) which don't ever seem to care about getting things right... i generally agree with what Craig was saying "Me: Doctor, every time i touch my rib, it hurts. Doctor: then don't do that" ?

are the speakers using the 192/6? or something else? i think either way you should use the M-Audio drivers - i have a pair of M-Audio Delta (1010LT, 66) PCI cards in my desktop rig and they need to use the M-Audio driver (as limited as they are - at least they're clock sync'd to my UMC1820) https://www.m-audio.com/support/drivers-search AIR 192|61.0.310-09-2019AIR 192|6 Window Driver v1.0.3

Rupert was so badass that he had 2 Lava Lamps on his home rig!

one challenge for a new CPU (likely the best path for this MOBO) is the LGA1155 socket was superseded in 2013... so you're going to be limited to older Intel CPU (which from a price perspective may be good). an i7-3770K seems like it would be a small performance increase but 4 more cores and threads may be bigger than simple comparison shows: https://www.cpu-world.com/Compare/583/Intel_Core_i5_i5-3570K_vs_Intel_Core_i7_i7-3770K.html i'd update the CPU first then add RAM if you're loading large libraries/samples.

i use 12's on my '64 fender mustang, it's single coil pickups give it the proper "surfer guitar" sound. even when i don't want it to ? of course a decent fender telecaster will do as well. and as Bruno points out - spring reverb on a fender 12w amp will complete it. in theory, you could use some amp sims to create that rig - TH-U, Amplitube, Revalver, etc etc. however the source of the twangy-ness is that fender guitar single pickup sound...

i've found on some projects, my automation envelope was the issue - it was changed to a solid instead of the dashed (skip) line, so it went on forever. changing it to skip (dashed line) made it stop since the envelope was just a bit longer than the audio (by design - lets reverb and delays settle out).

sorry, the project (includes audio files) and the audio content (Cakewalk Content, libraries, etc) folders are in the Google Drive configuration - so all files are kept on the (separate) drive but not under the Google Drive folder. the OneDrive has all my other work (recording studio design, and other architecture) files, and yes, those are in the OneDrive folder and configured to always be kept on the device.

generally i find the Ozone plugins to be too heavy in my recording/mix projects, so i only use them in the Ozone app. don't usually have an issue with them in the Ozone app, but i leave them out of projects so i can fit more of the stuff that i want into the project.

presumably the same - what you set the HPF to is what is allowed to trigger the sidechain. not sure how multiple tracks feeding that will behave as i don't use it that way. but if you test it out, it might be good to share your experience with it.

for a while i was using a separate drive for the active projects and copying over to OneDrive, but i discovered if i turned off onedrive or paused it, it no longer interfered with the project files when working on them. i have gotten a bit lazy after setting it to pause for 8 hours and just let it re-engage after it expires and let it do its synchronization thing... same for the Google Drive which is used for bulk content backup. just re-enable the sync once i'm done installing new content etc and let it work. since it's all mainly working on only updated or new files, it doesn't take as long as the first time...

so, don't confuse the file content with the file representation - a mono recording is "not wide". a stereo recording, if its a single mono source is "not wide", its just "big mono". there are techniques for "widening" mono tracks. and even more for "widening" proper stereo content. sometimes, using mid-side recording (effectively 3 tracks) is excellent for some purposes because you can change the relative width of the content from stereo to mono with excellent mono integrity retention. there is also lot's of discussion on LCR "stereo" (left-center-right) panning and the various degrees within a stereo image.

here's the doc: https://www.cakewalk.com/Documentation?product=SONAR&language=3&help=ProChannel.05.html the HPF allows you to limit the top frequency used to trigger the side chain - let's suppose you have some bleed from a snare on a kick, you might turn the HPF down so the snare is not triggering and only allow the kick signal to trigger.

sure. in dual mono - meaning 2 mono tracks, should sound like a single stereo file when panned center (meaning levels between them are as recorded). and if you have separate pan controls (e.g. protools) on the stereo file (remembering the stereo file is really two separate mono channels in a single file), you have the same concerns about the relationship between the channels as separate mono tracks each having a single pan control. you could easily test this: set up two mics in an XY pattern, as separate channels in your IO unit, record as stereo on one track and record each channel as mono on two tracks. you can do this at the same time. try side by side, same thing except the spill in the mics should be more obvious depending on the distance and source, and then try another. in all cases you should see/hear that both the dual mono and the single stereo are the same. here's a reference for the mic'ing: https://blog.samson.co/blog/2019/08/4-stereo-microphone-techniques-with-audio-samples/ and of course: https://www.dummies.com/?s=+Stereo+Microphone+Techniques

yeah, there is definite physical-transducer related sounds which can only be partially mimic'd by digital. the sheer randomness of overdriven tube resonances, speakers cones, cabinets and proximity of other similar devices (not to mention any quantum entanglement going on between tubes in these devices). that said, i'd suggest that 99.99% of people a) can't tell, b) don't care if it's a proper tube amp or a digital simulation... unless of course you're a rock god and your fans discover they've been hoodwinked because a 1500W 16x 12" Marshall stack was not used... @Lord Tim (you know of what i speak... LOL)

the main difference - dual mono is two files, stereo is typically 1 file. multiple channels (like surround) may be one or more files (depending on if they're encoded or raw really). if you have a single panning control (like the console track) then stereo files will tend to keep their channel relationship. if you have two tracks (dual mono) then your panning could change the relationship (assuming they're not strictly mono - same material in each).

they must not like you much. ? i get at least 6 emails a day on this product... and i only have the NX...

to wit: Marshall amps and Jimi - all dials up, all the way ? oh, and fingers, gotta have the fingers (even Django had 2)...

i just use MuseScore and exchange the MIDI when needed.