jackson white

Ya, one might be me. been running a remarkably stable system for years but hit a dropout speedbump around Mar of this year, went through the well known suspects but there seemed to be dependencies between a couple of moving parts that didn't cooperate as well as they have in the past. LatMon assessment seemed to think something had changed, but did not point to anything directly actionable. Decided to upgrade the OS (Win10 Pro 1909 > 2004) but that seemed to create a new set of interactions. Factors that seemed to help included reinstalling native ASIO drivers post ugrade (>1x), updating/disabling network adapters, changing USB ports!?! and changing ASIO/Recording/Playback buffer sizes from the last known good settings. Still monitoring the improved error reporting with the newer releases and what looks like potential issues when opening non DAW apps while the transport was running. Updated all VSTs to the latest release and discarded a couple that seemed a bit dodgy. Sent in a few crash dumps, but CxB does not seem to be the issue despite the lack of a specific 3rd party culprit. Running well atm, but wryly noting the veterans who complain about what a pita tape was and feeling there is a digital equivalent, waiting for the UAD product announcement.

FWIW, never had any luck/interest in MIDI/sample based playback options of which there are plenty. Only ever tried a couple but they've all struck me as a bit "keyboardy" (static? wimpy? envelope issues?) but generally too much work to get to sound anything like the real thing. Given the claim of modeling specific makes, I'm assuming this is some sort of IR based approach similar to UADs Woodworks or maybe Line 6 Helix + IRs. It's more than something like Waves Maserati ACG, CLA Unplugged, etc which are just FX chains. Tried this on an old Taylor C310 with Fishman electronics which I've never liked/used for the DI signal. GUITARS | Models Don't sound anything like the well mic'd real thing I'm familiar with. That being said, there's quite a range in tone/sound and a couple seemed to work better than others for a demo track. YMMV. MIC | Model, Position: useful, Distance: less so. An LDC option might make sense compared to the existing options, which strike me as pretty "focused". PREAMP | Blend, Treble+Presence: were the keys to get it to work in a demo mix PREAMP | Input Mode: Selecting Magnetic for the Taylor seemed to be radically different depending on the guitar model. Not sure I understand what's going on here. Tried Magnetic on a Tele/bridge pos, could see using it to color a cleaner tone, much like blending a Di signal with a clean amp. PREAMP | Comp, Grit: don't ever see using these. MODULATION | maybe useful at low depth DELAY/REVERB | not likely to get any use SUMMARY: It will never replace a well mic'd quality AG in a great room, gets a bit "cloudy/muffled" for me if you get too deep into the FX, but could be a productive option in some cases. What sets this apart is the models with extra points for a scalable UI. In tandem with the Fishman it provides an additional layer of interactive tone shaping that looks promising and might make the DI a viable option for me. I plan to dig a bit deeper. Cakewalk had/has the VX 64 Vocal/PX 64 Percussion strips. This could be the AX 64 Acoustic Guitar strip.

This could be interesting, see it as a tone option for blending with the mic tracks or as lipstick for hack demos. Didn't love the FX on the SoundCloud demos, but easy enough to leave out, wondering why they didn't include an LDC option for the mics, seeing some potenial for additional models if the base concept proves to be useful. Plan to give this a shot though as I've never found much use for any AG sims.

Not a user of IK, but find the VLA-3A in particular to be every bit as useful as the UAD version, with a bigger UI. The VLA-2A seems to have more grit than the usual suspects when you crank the input, so it gets used in select spots over others. The VLA-FET is probably a VLA-4A emu, works well enough. Stability, quality are all top notch w/o excessive DRM overhead.

So UAD is still the winner here? @Craig N, @e-cue, thx for the share.

^^This^^ would be appreciated as a productivity enhancement. The existing [VST3 | Preset Options] mostly works for the VST3s I use, but is always an extra click and *does not display the name of the loaded preset". This can get pretty annoying working with multiple channels for a larger project using the PA TMT family of console strips. Other VST3s "forget" where their presets are and display the VST3 preset list for the most recent VST3 accessed. I've had some discussion with PA but so far they've declined to indicate much interest in changing/improving usability. The suggested solution is to load/resave presets in "the Cakewalk environment". Tried this for a couple of plugins than looked at bx_rooMS which lists 200. Ya right. Other VST devs are doing a better job on this, probably more of an opportunity for CxB, but also never been an issue in S1.

?? maybe so for "classical", but always thought it's been fairly well known for jazz releases including some classics. (i.e https://jazztimes.com/features/profiles/miles-davis-and-the-making-of-bitches-brew-sorcerers-brew/3/ ) Producers/tape engineers were earning their money on those sides. ... a point for Dirk Ulrich / Plugin Alliance to consider as they run out of vintage gear to emulate. perhaps a TMT version of an orchestra?

amen. and thx.

https://www.bbc.com/news/entertainment-arts-57650176

yes, this.

This worked for me on a BG in a "vintage r&b" side, but perhaps because the UI has a way of helping you (well me) "hear" things a bit differently. Feels like a pultec style eq with different/more set points.

https://www.bbc.com/news/technology-57598554

VLA-3A works quite well for me and a better deal than UAD. Magnetite if you don't have too many tape emus. VLA-2A has a little more grit to it when driven hard than others.

nope. still the same. Much like Melda, Izotope, Fabfilter et.al. new versions *usually* have a price associated with them. Thx, was noting recent (and free) releases from several devs and referring to something like UADs dbx 160a. Was wondering if it gets updated if I install a more recent release. They promote newer features of wet/dry, m/s which while useful, apparently would cost me $199 or perhaps -only- $99 when on sale. Melda has been good. iZotope getting less and less use here. FF is great out of the gate, hard to imagine what they could do for an upgrade. And then there's CxB...

and the UI size. So much for trying to dial in a setting on a "meticulously modeled authentic analog emulation of a" skeuomorphic GUI the size of a postage stamp. Plus they've never offered updates on the ones I own, apparently opting to sink that hook in a bit deeper by "updating" existing offerings with multiple models for additional expense. But perhaps I missed something as I'm still using release 6.4...

Waves (never bought into their ecosystem) NI (thankfully never signed up for the full version of Kontakt (didn't like the UI) and that army of developers in their ecosystem is seemingly relentless) IKM (once again, the ecosystem) and special mention for UAD (yep, the ecosystem. A few of their plugins are still top of the class, but that HW dongle has been in service for > 10 years and ya know it's gonna give out at some point. If the Apollo Duo had a digital out that supported integration with one of my existing interfaces, I'd sign up for the Unison platform...)

@PremJ Hans, @Spectrum424, @Terry Kelley Working on the same issues after running a rock solid system for years. Playback has degraded considerably over the last couple of months and the tried and true fixes scattered all over this forum have yet to restore a previous level of performance. !! CPU cores "surge" randomly with Transport running and degrade playback. !! opening another window while Transport was running will degrade playback considerably. whether a plugin or Task Manager - audio interface was running at 64 samples (even down 32 samples at times) with no problems > had to raise it to 512 to get somewhat acceptable playback > had to raise Playback I/O buffer to 2048 to finish a mix that has been running just fine for months at 512 (been using the same plugins) > > freezing a few of the heavier tracks (i,e amp sims, drums,) that had previously run just fine did not help much, > > Global FX disable makes a difference, but not very useful when trying to finish a mix... > Experiencing the same issues in other existing projects that used to run fine. Starting a new project is better, haven't had the time to load one up with more than a few basic audio tracks. Never use x32 VSTs or 'unproven' developers. ... - dedicated rack mount system, Win10 Pro, ASUS X99-A m/b, SSDs, all power saving features disabled - using a reputable/recommended USB audio interface with native ASIO drivers, reinstalled after Win10 update, - have not changed BIOS in years (no need, right?), but tried a few changes which made no difference, restored to original config - LatMon has not flagged anything actionable > completely disabled both network adapters and BT in Device Manager = still experiencing degraded audio playback, gets worse when opening Task Manager... > Win10 upgrades were disabled since build 1909, decided to update to 2004 last week = no difference ... All CxB Preferences > Audio > Driver Settings/Playback and Recording/Configuration/Sync and Caching have been checked and are set to past known good settings. Even did a restore defaults and reoptimized. .... Diving a bit deeper to rule out; - HW (checking USB cables and ports, running Pinform Speccy to monitor component temps, etc, DRAM check, checking component seating on slots, etc) - VST updates (generally current with updates, but perhaps a potential issue, such as the BFD "authorization" fiasco) .... Then there's this point from @bitflipper This is likely the case for me as I was running an old build just fine (1909) and only running security fixes. Resetting optimizations for audio performance after an 'update' has always been resolved with a review of the usual suspects and reset as needed. fwiw, I feel more than capable of troubleshooting down to whatever level is needed but no luck this time. Thinking it must be something new or some latent basic setting that's flown under the radar so far, not sure what to try next, will check/report back with any further insights.

Philips Hue

The FX Collection 2 is worth considering if one wanted to wean themselves off the UAD ecosystem.

And the justification for this forum.

"bat" made me laugh...

Not at all. I as referring to my fatuous definition of "art vs entertainment" which @Larry Jones deftly nailed with a zinger from a Nobel Prize winner.

? Nothing like a bit of Dylan to skewer a clueless generalization. ?

(I really really know better than to do this but,.. here's an extended bit on the topic from a few years back. ) From the BBC today. BBC: "How many people does it take to write a hit song?" me: one. BBC: "...it now takes an average of 4.53 writers to create a hit single." me: ??? BBC: " ...the music industry puts the infinite monkey theorem to the test, detaining dozens of producers, musicians and "top-liners" (melody writers) and forcing them to create an endless array of songs, usually for a specific artist." me: hahahahaha. "infinite monkey theorem" indeed. the music industry has become a Planet of the Apes sequel? i thought there were already enough of those. me: (thinking....) the Brill Building/Motown/etc. might be considered the equivalent of their time, but they wrote some really good songs. what else you got? BBC: "People don't make albums any more." me: what does that have to do with monkeys? BBC: "They make 11, 12 songs and put them out as an album, but they feel like a greatest hits, or a playlist." me: the "record" industry was initially built on 45s/singles. perhaps we're just seeing the turn of the digital worm? BBC: "And then there's the issue of homogenisation. ... A strong identity (is) something you can't say (about) a record full of co-writes." me: with the notable exception of iconic voices (Frank, Barbara, Adele, etc.) the difference between a one hit wonder and an artistic identity used to be a body of work anchored with some strong hits. the 'album' cuts were often the substance of some deeper social commentary (e.g. Stevie Wonder/Inner Visions). BBC: "Crucially, an artist needs to stamp their identity on an ...'endless arrays of songs' " me: how do they do that when it's all monkey work? BBC: "(It's) a skill..." me: really? all an 'artist' has to do these days is pick through a pile of songs written by a bunch of monkeys to decide which one is -their- identity? David Byrne: "Same as it ever was." me: in the days before relentless visual overload, songs were in many cases selected by a producer to match a singers voice/image and a market for -record- sales which could potentially sustain a career. (again re Brill/Motown/etc) however... music became meaningful when it went deeper than 'pop' platitudes and socially mandated norms. the engagement was strong enough to inspire people to make a difference. Not accept things as they are. me: noting that shilling for some commercial product has become acceptable these days, perhaps even desirable whereas in the not so distant past, an artist would have been roundly disparaged as a "sellout" me: the issue for a musician becomes, 'Are you an entertainer or an artist?' me: an "artist" uses their medium to connect with a sentinent audience, enrich their existence and inspire a deeper contribution to humanity. me: an entertainer serves to distract an audience from a life of shallow expectations and provide some relief from the unfortunate crush of reality me: so what about the money? BBC: "If you have 13 writers on a song, each of them gets a slice of the royalties" me: monkeys get paid??!! me. makes music sound like disposable designer goods. streaming has pretty much done an ISIS on album concepts. and along with it the royalties for "album" cuts which were part of the price of an album with the potential for an income to sustain a career in music. and here i was thinking the recent retro/lumbersexual trend was evidence that what music sounded like counted at least as much as looks. me. so... the bulk of the "music industry" is dominated by designer goods, marketed via visual channels? David Byrne. "Same as it ever was." me. if music has devolved to designer good/commodity status, it's lost it's magic/value for me me. and for a vast number of musicans, the dream of a sustainable career has been reduced to chasing the elusive cash cow of social media me. or am i confusing the difference between "entertainment" and "art"? me. so what about the monkeys? (Link to the original article so you can see things were quoted out of context. http://www.bbc.com/news/entertainment-arts-39934986)

AI?