Glenn Stanton

i use it mainly for monitoring the affinity of apps and the additional power performance settings but if i were to get into issues and needed to really fine tune it, i'd dig much deeper into the affinity and balancing settings.

this is a product i use: Bitsum. Real-time CPU Optimization and Automation https://bitsum.com/ they have a free version with some of the functionality.

and for those of us impaired with speaking a given language, there are translation services online ? while not perfect by any means, they can be useful.

Avantone has a couple of NS-10-like units - a passive and newer active - both got decent reviews. http://www.avantonepro.com/cla-10a.php http://www.avantonepro.com/cla-10.php https://www.soundonsound.com/reviews/avantone-cla-10a i have Avantone MixCube (active version) which is very useful for true mono mixing

yes, hence the problem - which process gets priority on the execution side? OS and critical services (like file system, network, etc) - likely the OS - it's almost inevitable that one of the physical cores will get affinity set for OS which means one of the logical cores will operate impaired at best. and now with multiple cores on a chip plus issues with race-condition/timing issue security hacks, we'll see more physical cores in use than SMT/HT - certainly for the OS and related services. the cost is more power consumption and heat... but i'd like to have a CPU with 24 physical cores and 1TB RAM to make life a bit easier ?

thanks @Wookiee - i deliberately let the french and english clash (historical maybe ? ) yeah, using Melodyne - you can convert a lot of stuff - guitar, bass, voice, piano, etc to MIDI. i often use the voice tracks to add some background pads, leads, etc. guitar i often convert chords to piano and organ, leads into sax, synth, etc. I have Melodyne 5 Editor so polyphonic works quite well. the only thing i don't find converts reliable are drums, but that's what drum replacer is for ? my belief is: however you get the notes in, you can reuse them for all kinds of interesting instrumentation.

thanks! the woman is the French voice from google translate that i ran through with Melodyne to increase the melodic inflections a bit. Sax is my voice converted to MIDI then run through DimPro Tenor. i kinda deliberately left the drum parts simpler since there was a lot of other stuff going on.

it is simply the underlying physical architecture, memory channels, IO channels, inter-core communications, pre-execution queuing etc. so as much as Windows virtualizes the hardware, there is definitely affinity to the physical cores because at the end of the day the OS and its critical services need it in order to ensure it can do it's job. personally, i have to admit i have not looked too deeply into Windows 10, but i did set up some park control and affinity settings so my quad cores are as optimal as i can get them. perhaps it's not needed although as Noel pointed out they support this in the software...

the wire might not be actually faulty, just needed an upgrade ? e.g. CAT3 -> CAT5-> CAT6 etc e.g. USB3 - can use same as USB2 but with the different protocol specs (faster speed, more power, etc) an older cable might not cut it.

something left over from the last, er, election-thingie. just in case.

the physical cores are generally responsible for IO activities, so it makes sense that the setting needs to be the physical cores. the "virtual cores" are simply some variant of a hyperthreading model to timeshare the physical core (since most software steps, RAM access, and IO activities take much longer than a thread swap, the manufacturers figure they can get away with that approach). Intel definitely seems to have a better handle on this than AMD but at about 2x the price for the equiv CPU... couple of other notes - most times a single core affinity is assigned for the OS as well network control, so if you have the option to set the core 0 to not be used by the software (sometimes this is the park control, or elsewhere...) this can help avoiding issues with unresponsive UI etc. (disclaimer, 8-9 years ago i spent 6 months working closely with Microsoft, HP, Intel, and SAP, and the MS SQL product team on optimization of SQL Server and physical IO for solving the record locking and concurrent disk IO issues for a 25K concurrent user SAP test POC) (and it's ok if none of that makes sense ? )

the nff files are create by Melodyne - in a separations folder (either the global one, or per-project depending on using the UI or the region FX). these are the individual blobs you see in the UI. once rendered they're (supposed to be?) cleared, but sometimes i find them left over when close a project and forgot to render the track. finding the newest one and/or largest (sort of like organizing by alphabetical-height order) you can play it (assuming youo've set your media player to recognize nff files for audio playback) and it might help. all that said - it sounds like you got things sorted...

one possible issue - it's now a single screen with 4.6M pixels (500M/sec) versus two screens with 2.3M pixels (276M/sec), and your display hardware might be challenged to deliver that performance on a single screen. also the 32:10 ratio might be a challenge for some software if you run it full screen. i know the Izotope products newer versions struggle with "normal" settings...

it might be something you could identify in the Melodyne separations folder - presumably they're cleared or updated when rendered so sort by date or even their presence might be what you need. since they're usually some arbitrary name, you may need to listen to some to figure out what the track is.

i've been using the articulation map feature and the AAS strum-2 VST - just taking regularly performed chords (piano, ripchord, chordz, etc) and just adding articulations (downstroke, upstroke, palm mute, arpeggio, etc) and it seems to work pretty well. i've attached my own articulation map in case it's useful. as a note, to get a really tight sounding performance requires lots of small articulations - i've broken the map down into strokes and arpeggios so you can have things like an upstroke which then evolves into an arpeggio on the same chord notes because you have two articulation tracks slightly overlapped. dunno if that is the right way to do it but it leads to some fairly realistic effects. AAS Strum 2.artmap

lot of ideas on archiving here as well: How did you organize your archive? - Cakewalk by BandLab - Cakewalk Discuss | The Official Cakewalk by BandLab Forum

this might help

no, for the audio from the instruments. MIDI you need to use a synth or plugin with MIDI thru/out to route per @Promidi Aux tracks, patch points, and busses are the audio paths.

definitely do not use a cheap usb stick. ? spring for a well-known named product. for some reason the waves license files are doing something to the stick to prevent copying and re-use - and i've had 6 or more "cheap" ($10) usb sticks break over the course of a year. got a nice $30 kingston and not a problem in over 8 months...

you need to "insert" the key signature, either by setting it in the beginning of the project initially, or at specific measures. Cakewalk - SONAR X2 Documentation - Setting the Meter and Key signatures https://www.cakewalk.com/Documentation?product=SONAR X2&language=3&help=Recording.05.html

i generally use busses - reduces overall sliders to move and and groups of instruments can be controlled easily. grouping the busses and tracks can also add some additional control but i find if i want to adjust an individual track in the group, then i have to disconnect it (using keystroke or mouse-menu). if i use a surround buss to send things to, i can also do some adjustment for positioning that a simple pan will not. even in a stereo field. aux tracks - can do the same for grouping, group effects, pan, etc. tracks folder in CwB are just for organizing and being able to hide/unhide easily. if i'm using track folders to package up a group of instruments, i leave the aux track outside the folder, so, like my buss approach, the main sliders to play with are visible and the tracks are tucked away...

so maybe having the synth/instrument articulation track respond to the external (or virtual) controller key switch? if for example, using the BBCSO Discover with "Flutes", if i have my articulation map for the track set to "Flutes", then as i'm performing, the key switches i use are applied as articulations in the articulation track?

if the key/mode selection in the MIDI track could be "marked" /"evented" where needed - perhaps in the "chord track" or a "key/mode track" (i'm trademarking that one so be prepared to pay me 2¢ every time it's repeated ? ), that would be very handy. i think at this time it's global for the entire track, but much like a tempo change etc, having the ability to mark/event in the key/mode... yep.

dude! how can you make popular songs without using the default preset that your synth came with? what? next you're gonna want to eliminate vocal tuning! <just kidding around here> actually this is an excellent (and possibly a simple to implement) idea!

also, wondering out loud, if maybe track templates are a better option for this effort - small groups, single instrument, etc in 50 or so (well-named) track templates and a single master template they could plug into with the associated aux and/or busses. this way the initial template is very light, and you're only adding tracks as you need them which can include an enabled synth instance (also named). as a note, this is how i construct my own templates - i make a large "source project", but then i save the individual tracks (or groups like drums) as track templates. this also exports all the related aux tracks and busses. to validate, in reverse, i then start with a blank project and drag in the track templates to verify the new file matches the large "source" project. it's very nice that the track templates build the aux's and busses as well. the only caveat i have so far - the buss colors for some busses (like my reverbs or delay busses) have generic colors, and sometimes the instrument groups as well. for my templates (only 70-80 tracks and busses) reapplying the colors is only a few minutes, but would be nice to have retention of colors... people could then construct their own templates from there, for example, if you do a lot of string quartet with a french horn and oboe accompanist, so your "personalized" template would contain the track templates for each of the strings and the horns. no need to remove/disable/archive a bunch of instruments i would not need to get to that template ? instead construct by addition... edit: another thought - with track template approach, other people could use the master template and create track templates and share them to build up the orchestral product "library"...