Glenn Stanton

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one challenge for a new CPU (likely the best path for this MOBO) is the LGA1155 socket was superseded in 2013...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.

ah, wifi speed. has numerous technical impediments - a major one is it's got a radio which is essentially restricted to 54mbs (or 27Mbs) per channel. the way it gets higher speed is using multiple channels... so there needs to be a device on the other end capable of leveraging those multiple channels - hardware of course would be best, but device software can do it as well - just less efficiently. the more devices you have on the network then, the more channels become congested - at the end of the day it is all "serialized" streams... i use 2.4G for "non-essential" and guest wifi, and the 5G connection (not to be confused with the hype about the magic 5G from your phone provider) for important devices (like my desktop/laptop ?) . set the device interface to use fastest bandwidth options, highest power transmit, etc to maximize the connection strength and consume the maximum bandwidth per channel. of course the fastest would be a wired connection running giga speed ethernet through a pair of NIC but that might not be an option unless you have Cat5e (or better) wiring or will run it. forget powerline ethernet...

BandLab should acquire Finale or Sibelius and integrate and be done with it.

i would suggest it be a setting - i would not want the track to force a clip rename or vice-versa unless i enabled it. my track names often share a single clip for arranging and effects, etc so having the track name change to the clip or vice versa would make more work (for me). but there are also times i want to go in and just edit the tracks on a projects and definitely would want the clips to follow suit. so +1

+1

i just had Optimum (north NJ) installed - 300/300 - i was on 100/20 - the difference is radical (but expected by me as having experience building fiber networks). even if i'm at the far end of the house from the wifi router (about 60ft) i'm still doing 200 down and 180 up... i uploaded 2TB (1 each to Google and OneDrive) in about 16 hours... keeping in mind 300mbs = 30Mbs... and yes, at some point the switching circuit where all the fibers connect will have to share. in general a switch consists of say 6 independent sections (often called an "ASIC"), each typically with 12 fibers. if done correctly the sections will be balanced so only a few are truly active at a time - resulting in best overall performance for that switch - but if they stack everyone on a single section before moving on to the next one, it can become congested quickly. always a good idea to ask the installer "hey, can i get my fiber connection on it's own ASIC?" and maybe they can, in which case you'll have some nice speed for a while ? also, ask if the can get the levels to -20db or higher (most times the minimal spec is -24db) (mine is -17db) and this may require a couple of tries on the "fusing" operation (where they connect the raw fiber to the fiber lead going into a TOSLink-type connector box). much more reliable that way...

might be the settings you're using? if you select "all synth audio outputs: mono" (for example) and a "MIDI Source" you might end up with 3 or more tracks...