RBH

I never tried out the Ibanez guitar synth - Back in that day I had a Roland GK-2 mounted to a WestBury and run through a GM-70. I got some very useful work done on that rig. I gave it to my brother a few years back and somehow he lost track of the GM-70. Still has the West Bury with pick-up though. I do a lot of precision metal work - I bet I could make something similar to the Gittler.

There's a nice Sony 3036 console on Reverb right now----great combination.

Wow - I'd love to try these out..... too bizarre to pass up. I really like the bridge set-up on the metal one. Little more scalloped than usual I guess

I personally like the heavy Les Pauls. I tried a studio that was chambered - and it just didn't work for me. I have a line on a 73 Deluxe - unfortunately it's a "player " but it plays really well sounds great and I've been playing on it semi regularly for a couple of years. I just need to trade it off for half way decent acoustic - I'm not ready to give up my recording acoustic.

A midi track has a volume control and fader associated to it - you can see this in the track inspector as well the volume control in the track view. The volume envelope parallels the value of the fader. The default value of a new midi track is ( I think 100 ? or is it 107? ) which gives a little headroom - up to 127 for midi volume control. So, you have a default envelope.

I think the default is 100% full range db scale and based on the track magnification. I like your idea of scaling all tracks - I wonder if those can be linked that way.

I have one project that also calls out a silent track or buss. I have exhaustively gone through every track - every buss and every hidden track. It simply does not exist in the project. My only thought is that possibly it was caused by a previous freeze operation? - then subsequently the frozen tracks were deleted or possibly archived - then were deleted in a project. Then the project was re-opened long after the previous interface that the track or buss was pointing to no longer exists. The message can be tamed via Scooks advice - but the lost routing to an old interface possibly still exists. It may have been routed to a missing SPDIF output that no longer exists as well as I was doing some patching through a hardware device long ago. Kooky mystery.

I would think that instead of importing an hour of basically silence - that you would be better off just playing the significant audio into CbB and re-recording it from your playback device. There should be minimal loss if you have a clean playback and set levels correctly. Just treat your digital recorder like any other (audio ) input source. Then cut and paste just audio sections where needed. Simple fades to rid yourself of crowd noises at the beginnings and ends of performances. You can possibly cut out entirely, sharp obnoxious noises then maybe slip edit to maintain timing while stretching the sustain portions to cover up some interruptions . That would be entirely dependent on the song and type of noise.

I've heard bits and pieces of your keyboard work - actually some of the tastiest Hammond licks I've ever heard. I'm in my late 50's and have been at this since I was a young feller - I'm at the top of my playing game and that feels really good - took 45 years to simmer and cook down the way I look at it. I've downloaded the demo for the Valhalla delay - and I'm hoping to try it out this weekend.

These and others present were real teachers of the DAW trade to me over the years. Best to his family.

I want to go on record because I've been noodling with music for 45 years..... and I've never been on vinyl - and chicks think its cool , unfortunately I'm too old to be cool ( according to ACTUAL cool people ). Intonation ( in my mind - is about setting the 12th fret to center of the open string between nut and bridge, in incorporates scale length, string tension, string gauge and can be greatly affected by pick-up magnetic attraction. I 'm unclear how to set intonation from the third fret ? If you can explain - I'd like to learn something new. Tuning from the third fret can offer the typical offset of the change in tension from fretting - that makes sense to me. no harm no foul if the intonation is correct.

Kind of missed not seeing you around the forums - was hoping that you just didn't like us very much. Sorry that's not the case - do take care, I know I miss your experience and input around these parts.

Are you using a dedicated audio interface ? or the internal sound device? See if you can unselect the internal engine in BIOS if you're using a known stable interface. I would double check the sample rate and bit depth are same as your older projects and the same on the Interface. Open the Tempo map and make sure it is a stable line at 120 BPM - if that was your intention. Sounds like there is a mis-match in the clocking somewhere. Changing back an older operating system may have reset the clock to the internal sound engine.

Hover with in the clip - hold control key - I think it might be the right mouse button - then drag up or down and you can offset the gain. It shows with a horizontal RED line.

Somehow I think if someone was able to update the GUI and re-write and compile for 64bit VST - a lot of these older plugs would find a new life. I wish I could De-Vaporize my software.

I thought this going towards a Ginger or Maryann kind of thing. But - really it's all about Betty or Wilma. Or was it Thelma Lou or Juanita?

You sure Scook ? I went from Sonar 2 to Sonar 5 - stuck with that in a XP daw until I upgraded to SONAR PRO - just 6 months before the Gibson drop happened. I never used any of the X series. Subsequently never had a number of the pro channel modules either. I used FX reverb as a standard for many years - even though I had a number of very pricey plugs. Some of the old stuff was just pretty basic and really well done in my opinion

Control shift while dragging will copy the track and maintain it's location on the time line. If you just hold the shift key while dragging it will preserve the timing but will move the events ( merge ) without copying. Open the clips pane select - bounce to clips- and everything will be merged and visible.

To delete the automation - select the whole track and then : EDIT : DELETE SPECIAL: select just the automation switch.

Scaling Velocity will multiply or divide a value to the existing velocity - so it shouldn't make them uniform ( unless they already are ). If you select all notes from the piano keys then use the event inspector, you can type a uniform value to notes selected. Same goes for setting uniform durations, channel assignment etc - It's a very powerful global editing tool.

The only times that I've this kind of behavior is when an instrument is unassigned or deleted- and then other instruments can re-assign to different midi track outputs - seemingly based on a hierarchical order of assignments. This was with separate Instrument and audio tracks. I doubt this has something to do with your issue unless Kontakt or Omnisphere is disconnecting for some reason during the split instruments operation. Maybe try these instantiations with separate Midi / audio tracks and see if they scramble. Just a thought.

I never knew there were options there - thanks McCleod.

yep - that's it ! SpectraFX -- . Maybe I can locate an old install disk and try to get it back. Cool thanks

Yea - I would second a filled out line of the original offerings of Pro Channel modules. I Came to CbB from Sonar Pro which didn't have all the Pro Channel modules. CA-2 limiter would be a great addition too. There was a very cool FX Effect from back in Sonar 2 thru 5 days that I wish I could find again. It was sort of a rotary modulation effect - can't recall the name exactly - But I have a very old track that luckily I rendered with it on there.

I set-up short cuts for back and forward to next marker - those are pretty important to me. definately : space bar - Just GO W - rewind to beginning Alt F9 - for Synth Rack ALT F3 - Piano roll B - lose the browser