Gswitz

Jim doesn't deserve the patronizing. (Doesn't need my defense, just thought I'd tell you tho). All of the old-schoolers around here use real-time monitoring when appropriate, but there are cases for through DAW monitoring. If you use your imagination a little, you could think of a few. ? Many of the things you said are true. - Real-Time monitoring is cheap and easy and incredibly effective for lots of things. - Inexpensive interfaces can include fx processing like verb, eq and compression (I have made videos on how to do real-time parallel compression with an RME UCX). - Lots of other equipment matters like Mics, pre-amps and instruments. - Musicianship matters and when the musicians can hear themselves sounding great they'll perform better. None of this discounts the huge value of a good low-latency interface. There are just tons of great things you can do with computers and it is possible to have a reasonably priced computer and interface that makes it all possible. Jim knows more than most about how to make this fun happy world a reality for many people who were not able to achieve this on their own. It sucks to be the old guy who's mad at his computer for ... So much better to be the old guy whose computer enables wild new adventures.

Because they need admin privs to truly know the genius that is Bapu. He's been holding back and they were afraid they might be missing stuff.

After reading this thread days ago I bumped my samples to 192 and my buffer to 48. Then I decided I didn't care and went on with life. Today, I was bouncing a video while listening to playback and I was scratching my head why I heard crackling... duh lol 48 samples while exporting video didn't work. The point is, I hadn't heard it in so long I started trouble-shooting rather than just bumping up the buffer. lol

Sitting in my chair now, I have more latency between me and my amp than 5 ms. Super low latency is cool though. I appreciate it. For me, I love using synths and using tons of voices with low latency drives the processor hard b/c the voices all show up on one core.

Sounds like a scroll wheel spin with control key pressed and no tracks selected with your focus on the quad curve of a track? Lots of times inadvertent moves where the user thinks the scroll just didn't work actually changed an effect parameter value. I could be wrong. Honestly, being able to impact lots of tracks at once is a feature lots of us take good advantage of. What am i saying?... The behavior you see may not be random. Be deliberate as you move through your project. Errant key strokes can really cost you time. One of the most famous ones was hitting the O key instead of the I. O enabled offset mode at one time while I toggled the inspector. Once on, offset mode would totally confuse you. .. Offset mode has been unmapped from the O key now.

Gone gigging?

Quantization is something i avoid.

I listened. Thanks for the working link. Great band!

I wasn't able to see the video. https://www.youtube.com/watch?v=RhruFyHhuMM

That's an interesting sounding band, Rico. Do you have any live recordings to share? @Dave, You aren't too clear about what you're seeking. There are a lot of talented folks who might help. How about posting one of your songs for us to listen to.

Regarding the importance of the pre-amp, I totally agree. My bro and I decided I don't have the equipment necessary to validate the specs on my RME UCX. I would need much better microphones than I own, and I own some pretty mics. I would also need an an-echoic chamber. Now on the 'who has 24 bit rigs anyway' thing, I'm not sure I can agree anymore. I used to have to make CDs for bands when I was done, but now I only post 24 bit Wave files and they go from there. My phone handles 24/48 and that means so does my car. I don't think I'm special. I think a lot of folks have fairly good stereos in their cars. I'm not sure, but I think my kid's bluetooth speaker sounds 24 bits of good. not sure on that or how it works. The phone is surely 24 bit (again, my phone). So it may be that lots of folks can handle 24 bit. These days I don't always make 16 bit versions of a bounce unless there's an old guy in the band who has to have CDs.

Click the plus button next to send, pick you output choose pre or post fader.

For amateurs and people with cheaper gear, using double rates like 96 can help you not suffer as badly if you have gain set too low and you're too busy with your friends to notice. If you can set your levels properly 44.1 is sufficient imho. And the more tracks you have the less it matters in part because they won't all have the gain too low.

Bassface, If you have a one track project and sendout to the master bus, you can also send the track to any number of other outputs. The master bus outputs to 7+8. Send 1 outputs to 1 Send 2 outputs to 2 etc. Keeping adding sends to send the output to as many channels as you have outputs on your rme.

I shift around depending on what I need. At quad rates i can record 10 tracks. At double rates, 12. At single rates, 16. With two acoustic musicians plus synths I'll probably do 96. For a full band, 48. I've never noticed these artifacts that Sidney mentions. I've only made three full recordings at quad rates. They are favorite performances of mine, but I couldn't justify the time cost on the bounces etc for the benefit.. If any.

You could use sends to sendeach track to a separate output.

I only do big sessions with digicheck. I don't launch Sonar/Cakewalk until I get home. ? Digicheck kicks a$$. The only thing it doesn't give you is wave form over time. Make sure you know how your meters are set up. There are level bars and holds you can set. Like The meters can be RMS or Peak. If you're used to Cakewalk you might set them to peak. You can set the text to peak and the meters to RMS (I think this is the default). I use RMS +3dB which differs from Sonar RMS which doesn't do the +3, I believe. You may want to set infinite hold on. Double clicking it will reset the counters.

Ok... Since you have an rme, download digicheck from the rme downloads and make a recording with that and see if you get the problem. I'm starting to wonder if an unauthorized plugin is the problem. I know you said you bypassed all plugs but still... Recording with digicheck should help narrow down the issue. When rme loses buffers, it continuously records. It doesn't leave a space. All tracks lose exactly one buffer at the same instant. This is true in digicheck. I think cakewalk would drop out. I'm curious whether you've ever installed demo plugins that you didn't end up buying. I'm thinking that if the problem occurs in cakewalk and not in digicheck that this will help narrow down possible causes. One last thing. You can record with digicheck and sonar at the same time. That should ensure that both differ the same system wide events. Clicking record enable in cakewalk causes buffer drops btw in digicheck. I know this from the videos I make. So that is expected.

Friday I made a recording. I was shuffling around in winter in slippers and a couple of times sent static electricity through the gear. Each time, I had to power cycle my rme ucx. It did not happen during recording... Only set up. Possible something similar is happening to you?

Do the missing chunks exactly match the buffer size at the time of recording? Losing the audio in your buffer do to dpc latency could cause your symptom. Have you run latency monitor to check your system.

Ah... What about your driver settings? Are you set for asio? This is in preferences.

Click record button and input echo?

You can also use audio snap to get the midi data. Audio snap has the benefit of being able to manually include and exclude if you have time to listen to the track. It has the problem of not having the eq part that drum replacer has. I put the different drums on different tracks so i have the visual of the hits as i watch the console view. Maybe i can see a snare hit that also triggers the kick sample. I send the separate tracks to the same drum synth.