Gswitz

We tried to use an old four track. Put in the tape. Pressed play. Pressed stop. Thehead doesn't retract. Any ideas? We can't remove the tape. Power off. Power on. Mash buttons.

I do what scook describes.

Idk what sequencer view is. Console view? Have you hidden the midi tracks in the console view? H should show hidden tracks.

I do use the plugs of theirs i own often. That said, i can do most of it with other stuff.

You got me. New project and move your stuff to it? I think that would be my next step if i was you.

B toggles browser. I never cared about state because i change it easily. It can be floated and closed.

Already subscribed. ?

Try hitting E to bypass all FX before opening the synth. See if that helps. There may be another plugin that doesn't like the audio stuff that happens as the synth pops open.

I struggle with bass more than any other instrument. I like to be able to hear it properly. On my most recent project I didn't blend direct and mic'd bass. I just used the mic'd bass track. Attached is an image of the fx I'm using with some text as to why. The recordings are here in case you want to listen to see if you like how it came out http://gswitz.blob.core.windows.net/tunes/20181216_Roadhouse.html At the bottom of Scook's link are some cheat sheets you might find helpful. Part of your problem may be that you don't play a ton of bass. Try finding a bass player to help you some. The fx are mspectraldynamics sidechained with the kick drum. You could use any sidechainable compressor for this... Melda MBassador. This is a little bit of saturation, I think. If you don't own the plug, try some tube saturation. LP EQ >> Cakewalk.

Works fine for me. I use my FCB1010 with TH3. But TH3 can't be in the Pro Channel for some reason. It has to be in the FX Bin. I can change patches or enable and disable pedals. Use expression. Start and stop the looper etc. All with my feet.

It was interesting. I don't tend to record multi-track drums separate from the band, but I can see why you would and why you would want to tighten them up.

+1

@Steev You mention doing large multitrack live recordings with sonar/cakewalk. I want to speak to that. On a power failure or abrupt shutdown, sonar will lose all unsaved data, last time I checked. On a drop-out case, sonar stops recording and doesn't resume. Until you notice, you are losing tape. Rme digicheck is what I use for live recordings. In my tests, you can pop the battery out of an unplugged laptop while recording and not lose more than a couple of seconds of tape. It's magic. Additionally, when digicheck loses a buffer, all tracks miss exactly that buffer and keep recording. There is a warning. This means that if you do something stupid to cause a brief interruption, you don't lose more than you must. On the plus side, sonar/cakewalk has the nice wave forms that help you get your levels set properly. I like that you can scale them up four easy reading.

Also remember Linux Ubuntu studio. This is a free low latency build. I have used it on a USB ssd to make 16 track recordings.

Yes. ????? It's ok. I use it sometimes and i have used it for live field recordings successfully. That said, I can go months without launching it.

Me too. I'm using melda.

I've only been reading general. This thread brought my attention to the other spot. ? Makes no difference to me.

When you go to the top of the Pro Channel and click the open folder icon, you get a long list of guitar pro-channel configurations you can try.

Thanks for the wall tip. My house isn't very big and pulling it out will block a foot passage so I can't leave it there all the time, but I can definitely pull it out for a re-amping session or such.

Craig, I've spent time with TH3 trying to mimic the sound where I record the amp directly. This video shows me trying to get a sound from TH3 that was close to the sound in my room. In that one, I positioned the mics on the same cone in the same position more or less every time. I had a recording of the guitar bit and re-amped it switching mics then tried to match the sounds in TH3. I soldered myself one of these... https://www.diyrecordingequipment.com/products/l2a. On another session, after getting a Rivera Rock Crusher, I was curious if I could use only TH3 Cabs and Mics to get a sound like I get from my amp. I was not super happy. I took the direct line our of the Rivera (so between the amp and the speaks) and also recorded my amp. I then tried in TH3 to just add a cab and mics to get something similar. It really was not as good, but less noticeable than the effort I made with all the hardware. So, a sacrifice, but not much of one. I can totally use it for late night headphone jams. Good enough for what I do. I had been interested in a Universal Audio OX Reactive Amp Attenuator, but bought the Rock Crusher because it was soooo much less expensive. I figured I could add my own cab sim and tried the sounds. I'm thinking playing more guitar myself where I reamp on a Saturday and spend a few hours changing mics and trying sounds is probably smart. As you say, Go ahead!! You won't break anything!! ? Last night, I came to realize that having the amp up loud definitely makes the SM57 sound much better. Recording at a low level it sounds much less tasty than my other mics. The video in this post was recorded with the amp at 2.5 or so, and that was too low to really get a good sound on some of the mics, probably. Also, I don't think that TH3 does a great job of emulating the amps at low volume. I think it's really focused on the top half of the volume range, not the bottom.

I probably just need more practice.

The only bug that had tripped me lately is around normalizing.

Leave it on overnight and see if the drive work settles down.

I love to record loud guitars. I hate it when I don't love the recording when I get home. This happened to me recently and so I took some time to check out my mics and record them at home. I think I'm asking for help. I feel foolish being unsure at this late stage of my recording experience. When recording a loud guitar (or 2), there is no way to listen to the recording while the band performs. You just have to wait until later. I often just mention mic choices to the guitarist and let his/her random answer guide the choice. When I mic the toms, kick, snare and 2 overheads, I don't usually have room for more than one mic per guitar. I'm starting to think this is a mistake. I should really be recording guitars with 2 mics per cab just to increase the chance of a great recording. I really don't like to record more than 16 channels at a time. It's a pain to go above that. Anyway, I made a video with some sounds I captured at home. Listening, it occurred to me that a ribbon tilted up at the speaker in a rugged room does kill some of the sound that would come in to it from behind. It makes it warmer to be lower on the amp and crisper to be higher. I feel like I don't get enough practice at this to become good at it. ?

Ah but the midi is stored in the .cwp file. Audio files are stored in an Audio folder. I believe the envelopes and other timely settings are basically midi data as well. so if you draw sign envelopes you quickly increase the size of your cwp because of all the points. Likewise if you record the midi for your guitar 500 times as you practice a piece, you get a large file. ? Who would do that?? So the auto save becomes a hassle in some cases but not most for me.