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Fortunately, CTL-Z works for every edition of Melodyne. Which of course doesn't prevent a truly motivated user from screwing things up. I have some old projects from when I was first finding my way around Melodyne to prove it.

Unfortunately, this is part of the "Sound Editor" feature, which is available only in the Studio edition. Here's a comparison of features between each version.

Although I am a longtime Melodyne user - going back to version 1 with a now-discontinued 8-track version called Cre8 - I use it so rarely that every session sees me re-learning many fundamentals. It's a deep application. Did you know you can also use it for compression?

I fiddled with Melodyne's EQ window for about 10 minutes back when the feature was first added, intending to go back and explore further. I never did. But today this video was recommended to me and I am now inspired to revisit it.

These guys doing original music in the style, feel and tone of early Beatles...

I've used Gorilla Glue in the past (for hanging paneling) and it's well-named. So in your experience, just how good is the double-sided tape? Would you use it on a ceiling? These will need to stay in place even when the door is in its horizontal position. You might say we spend our lives in chains, and we never even know we have the key.

It's a standalone VST.

Not practical. You'd need a matching mirror on the floor to maximize the amplitude of standing waves.

Groan. What's better than roses on a piano? Tulips on an organ. IKM's B3-X is currently the best Hammond/Leslie emulation out there.

That pretty much describes my setup, too. Except that I long ago gave up on packing blankets in favor of OC703. But tbh not a lot of science went into my configuration, mostly trial and error followed by measurements to tell me if what I did actually worked. The important thing is that any treatment is better than none. I can't think of any acoustical mistake that would actually make things worse. (OK, lining the walls with mirrors would make things worse.)

I, too, am no Ethan Winer. But I've read everything he's ever written on the subject and I've seen photos of his home studio as well as his living room / listening room. I'm sure he would agree with me that yours is easily the most beautiful acoustic treatment I've ever seen in a home studio!

All the rest of my treatments in this room are rigid fiberglass in wood frames. Framing allows use as both free-standing gobos or hung on walls with spacers behind. I also have a ceiling cloud hanging from chains a foot below the ceiling (which is actually a false ceiling made of pegboard, allowing the attic space to serve as a bass trap). All in all, the room already sounds pretty good for mixing, recording and rehearsing. The garage door is the only surface with no treatment. My mix position is about 12 feet away and otherwise surrounded by absorption, so the door isn't normally a problem. But then I don't normally place microphones in front of it. Here's the frequency response for these 2" panels, which are pretty much what I would expect and actually a little better than the Auralex equivalents below 800Hz. These come in 3" and 4" thicknesses as well, but as my goal is preventing mic feedback around 4-8KHz, the 2" thickness will do just fine. While I wait for delivery, I'll give some thought to the posterboard method. The company actually suggests that technique if you think you might ever have to remove the panels, because the really good glue that builders use rips the foam. I'd also like to figure out a way to put a small air gap behind them, which lowers the lowest frequency at which they're effective. I will experiment, given that I'll have a pack of 48 and need only 30 to do the garage door. Hmm, I wonder if I'd sleep better if my bedroom was acoustically treated...

To glue to my garage door. It's a little cramped when the band's rehearsing in here, so the guitarist and bassist both have to stand close to the rollup garage door. I believe that's contributing to mic feedback, so I've decided to put up some 12x12x2" panels on the door. Wish me luck - the door is made of segmented painted wood panels, so I might have to get some "permanent" industrial adhesive so they don't fall off when the door is retracted. I've been meaning to do this for awhile, but sheesh, the Auralex stuff would be kinda pricey for what's basically an experiment. But I wanted to pass along a resource I discovered, a foam factory out of Michigan that sells direct - unimaginatively called Foam Factory. Based on published testing, their stuff seems to be comparable to Auralex but considerably cheaper. A pack of 24 from Sweetwater was $119. A pack of 48 from Foam Factory is $45. Shipping was $13, so even with Sweetwater's free shipping that's still a much lower price. Yes, you can find similar-looking products on Amazon for like twenty bucks. Read all the 1-star reviews before wasting your money on that crap. I will report back to let you know how these worked out.

Windows 11 is compatible with Sonar, probably going all the way back to Sonar 1. Or even Cakewalk for DOS 1.0. I haven't tested this, as I will remain on Win10 until Microsoft tells me I can't anymore. That said, one of Cakewalk's great strengths has always been version compatibility. It's why if you upgrade you'll be able to open all your X2 projects in the current version of Sonar, assuming you leave X2's plugins in place. Your issue is probably with drivers. Don't waste your time with asio4all. If you are using the motherboard's integrated audio, e.g. RealTek, try going to the manufacturer's website and downloading the current version of their ASIO driver. If that doesn't do the trick, try using WASAPI Shared. That usually works. If still no success, make sure Windows isn't somehow confused by which devices are enabled.

Functionally, they are - insofar as both are points where tracks get combined. The differences derive not so much from what they do, but when they do it. A bus is traditionally an end-point, the last stop before going out to the world, in keeping with Sonar's (and most DAWs') model that is based on conventional hardware consoles. Except that If you were mixing on outboard hardware, you'd be able to route signals from the bus module back into a channel. You wouldn't want to, though, because that can create a feedback loop. In a DAW, that is simply prevented from happening. The solution is an aux track, which has all the functionality of a traditional bus but is processed beforehand, as a track. In practical use, they can pretty much be treated as tracks, e.g. moving them around on the screen, putting them in a track folder, freezing, bouncing, even recording. Internally, they are technically patch points rather than busses. If you've used hardware patch bays, you know that while they are technically busses in an electrical sense, they have their own capabilities and limitations. This doesn't address why bus soloing doesn't behave the way you expected; that's a deeper subject. I just wanted to try and clarify how aux tracks and busses differ, despite both being functionally "busses".

Neither. It's an iterative process. 1. Dig jazz and blues 2. Employ nature's music enhancer 3. Get jazz and blues 4. GOTO 1

In the interest of objectivity and honesty toward the youth of the world, we must acknowledge that studies show cannabis to be the primary gateway drug to jazz and blues.

In our household, we have a tradition of me taking my daughter to a concert on her birthday. Not this year. This year she got invited to my own gig and I bought her dinner. Last time we went to a concert was three years ago (Evanescence @ White River Amphitheater) and while the performance was quite good, everything else about the evening was unpleasant. Tickets were $450 for the two of us. Traffic was a nightmare, parking was a mess (two hours to get out of the parking lot, another two to reach the freeway), food and drinks were outrageously expensive. More trouble than it was worth. What's sad is that Seattle used to be known as a music town. There used to be lots of great medium-sized venues, mostly converted movie theaters so the acoustics were good. We'd see shows like the Strawbs with Gentle Giant for 10 bucks, local bands for 5. There were also similarly-sized bars that were mainly music venues, where we'd go see bands such as Heart, Tower of Power and Badfinger for a buck to get in and another buck for a pitcher of beer. They're all sports bars now, if they still exist. Now, Ticketmaster will blame inflation for current prices, but that ain't it. Adjusted for inflation, that $1 we spent in 1973 would be $7 today.

TDLR: It's Ticketmaster and Live Nation

According to Mathew Fisher, chorus/vibrato was turned off. Check out this article.

That's the great thing about drawbar organs: you can easily replicate any Hammond tone if you know the registration (drawbar positions), percussion settings (just 3 switches) and chorus/vibrato selection. I learned the settings for Whiter Shade of Pale (68860000, 2nd harmonic percussion soft+slow) from a video of a Procol Harem performance, where the camera hovered over the organ just long enough to pause the video.

Nerd.

Invited my bandmates and their spouses over. We jammed a bit, smoked some cannabis, jammed some more, ate barbecue with pot brownies for dessert, jammed some more. Yeh, we all have sh*t days, more than we'd like. But you know, at least on some days, life is good.

^^^ Good advice. First step when diagnosing audio problems is to make sure Windows can work with the interface. Gotta make Windows happy first, since Sonar only knows what Windows tells it about the interface. My standard sanity check is Windows Media Player. If that works, then address Sonar settings. If it doesn't, go into system settings -> Audio and see if maybe the motherboard's integrated audio is being used, and disable it if necessary. Start with the Sonar settings in the first page of the Devices section under Audio in the Preferences dialog. Make sure all of your inputs and outputs are listed there, that none of them are disabled (grayed out), and that every input and output is checked. If more than one device is listed, e.g. anything other than your new interface, or if your interface's inputs and outputs are disabled, then you may have another device activated that needs to be disabled before proceeding. If all this looks good, check the Output destination of your master bus. Make sure it points to the new interface and isn't set to "None" (which Sonar does automatically if the previous destination is not valid). If there is still no audio, try plugging in headphones to the interface's headphone jack. If you get audio there but not in your main speakers, there may be a routing issue with the driver itself. To fix that, you'll want to bring up the Focusrite control panel (Mix Control). That utility can be daunting, but there should be a preset named "DAW" that'll get you going. Also, and sorry to state the obvious, make sure your speakers are plugged into the correct jacks on the interface. (I don't know how many outputs yours has, but my Focusrite has 8 outputs and it's easy to choose the wrong pair) One last thing that you can try is switching to a different driver. If you're using WASAPI, switch to ASIO. Or vice versa. If you get sound with WASAPI but not ASIO, then some other device is claiming ownership of the ASIO driver. If so, you can just stick with WASAPI and all will be well.

Cakewalk/12Tone never owned the TTS-1. It was created and owned by Roland, and licensed to Cakewalk. This is why it's no longer included with Sonar - it was removed from the distribution at Roland's direction. It was implemented as a DXi because at the time that made the most sense for a Windows-based DAW, and the TTS-1 was exclusive to Sonar (Roland owned a large share of Cakewalk at the time). The DX format offered features unavailable to VSTs, such as finer automation resolution and better preset management. Those differences are moot today, and VST has become the standard due to its universality. If Roland had designs on revamping the TTS-1 and broadening its appeal, they would certainly rewrite it as a VST. But Roland has little interest in the wider software market anymore. Channeling software development into hardware synths yields bigger profit margins, exclusivity, and no worries about software piracy.