John Bradley

Simultaneous recommendation!

Assuming you're in the US, I highly recommend having one of these (or equivalent) in your arsenal. Especially if you ever take your gear out to a venue -- could prevent some unpleasant shockery if you touch things that are plugged into two different outlets (say, your guitar and a microphone). https://www.amazon.com/Sperry-Instruments-GFI6302-Receptacle-Professional/dp/B000RUL2UU/ref=sr_1_5?dchild=1&keywords=outlet+tester&qid=1600904662&sr=8-5 Get one, test any outlet you plug your amps into.

Yep. I can play bass and have one hanging on the wall in my studio, and almost uniformly use MODO Bass (and click in the bass part on the PRV) on everything I do. Run it through a nice amp sim and hardly anybody could tell it wasn't real. And it's inherently on-grid. Saves the time of fixing it with AudioSnap. Only time I record real bass is when it's a sparse mix and/or the bass is the featured instrument. Or if it has lots of slides or percussive bits that'd be annoying to replicate in midi. See Flea, etc.

The musical notes on the left side of the PRV set the default note length when you're drawing in notes. View | Grid Resolution just sets the number of vertical line subdivisions per quarter note. Leave it set to 'follow snap' What you want is the snap setting, which is a pulldown on the top right side of the PRV, to the left of the little 5-pin-DIN icon. You can also just hit 'N' to disable snapping entirely, which is what I'd do when drawing smooth volume or other controller changes.

Modern scholars who have studied this imperialistic act of lexicographical appropriation now describe it as History's Greatest Vowel Movement. --- Yeah, I know, bad form to revise and extend my own joke. But in my defense, I did just leave it sitting there, for anybody to pick up. With a hanky.

I only ever record mono (vocals and direct guitar). Always leave the interleave set to stereo, because I typically throw at least one stereo effect in the FX bin, be it delay, chorus, reverb, etc. Only time I ever switch the interleave to mono is when after I've AudioSnap'd a guitar track and want to render it. If you bounce a mono signal (in stereo interleave) to another track -- just the signal, no FX or other processing -- the bounced signal is 3db hotter for what I'm assured are Very Good Reasons. Which in my case, changes the sound coming out of the Amp Sim in the FX bin due to the hotter input. Temporarily switching the interleave to mono, bouncing, and switching back avoids that. Though it's possible rendering in-place (via bounce to clips) may or may not avoid that. Have to try it, next time I fix a guitar part.

But my money, my precious money... however will I spend it!?!

Right, mate! You got a loicense for all those vowels in y' name? ?‍♂️

Tip: Use as few audio transient markers as you can get away with (say, one per bar), and disable the rest. You'll get the best results with longer, uniformly-stretched audio segments rather than stretching/squeezing every note to be precisely on grid. Also, position the markers right before the note starts, rather than in the middle of the attack. It'll be less noticable if there's a phase/tonality shift between the notes rather than in the middle of them. Finally, there are several different offline rendering methods (Elastique Pro, and a number of Radius algorithms). Play around with them at see what works best for your particular audio. Oh, and avoid the automatic quantization unless you enjoy seeking out and fixing random errors. Safer (and arguably faster) to just drag the markers around by hand. At least, that's what I do.

The English have a vast surplus of 'u's, and have to distribute freely with their 'o's to keep them from overrunning the countryside and scaring the sheep. Could be worse. According to local folklore, they stole them from the Welsh. To this day, the Welsh have had to make do with 'y's, the only vowel-like letter their neighbors left them.

Oh, so that's where that mic came from! I have the xlr version of that mic, and it's complete garbage, but I never cared because I bought the package for the arm and pop filter, mounted up my Rode NT-1, and threw the mic in a drawer...

Poe's Law. I can't tell if you're being serious, or mocking someone. On the off chance that you're serious, the most carefully annotated sheet music gives us at best a 'reasonable idea' of how Beethoven wanted his music performed. There's far more nuance in any performance than can be expressed in sheet music. Anyone who's heard a soulless MIDI performance 'typed in' from sheet music, playing perfectly on-grid, knows that. Luckily we now have a way to perfectly capture exactly how a piece is meant to sound, in the form of actual recordings of a performance by (or approved by) the composer. Perhaps the recordings or playback technology won't survive the coming apocalypse, but if so, we've got bigger problems at that stage than trying to remember how "Be-bop-a-lula" was supposed to go. But having written that, you must be joking. If so, well-played sir, you got me!

Track pane, Options | On Stop, Rewind to Now Marker Ctrl-W toggles that behavior on mine, though I don't know if that's a binding I made, or a default binding everyone has.

Complains about price of Hofa reverb. Gets recommended an even pricier reverb. ? Question: isn't Exponential's R4 Reverb considered a Very Good Thing, as these things go? Given the $299 list, I'd certainly hope so. It's $29 right now at Plugin Boutique as a crossgrade from virtually anything that you've bought at PB. Granted, it's iLok'y, and they only give you a single activation, but still, it's 90% off... (ends Sept. 30) Thinking about picking it up as the "full version of BREVERB for a good price" thing I've wanted seems unlikely to ever happen.

So the sasquatches got tired of roughing it, and decided to move into the city?

Reminds me of that old Ministry song, Jesus Built My Website.

Is the particular room sound important? If not, I'd think the easiest thing to do might be to gate and compress the audio, edit out whatever unwanted noises made it past the gate, and then add some synthetic ambience (say, a nice covolution reverb) afterwards. Just a thought. Though fwiw, those recorded signals look very low, and might be getting somewhat lost in the room sound even while you're talking. More sophisticated repair might be necessary. (e.g. RX6/7/8 have de-noiser and de-reverb plugins, I believe.)

I get that a lot. Maybe if I buy yet another guitar, or a new amp...

Perhaps that's why David Byrne, Bowie, and others have favored female bass players... ?

Make sure the sends are set to post-fader (orange button next to the send knob). Then they'll mute along with the rest of the track.

Keys? Pshaw! A truly serious note can only appear in a proper 12-tone piece. If you have to make yourself listen to it, over your base animal urge to turn off the series of unpleasant noises, that right there is some Serious Music.

"That's what he said!"

You're in Clips mode in that track. Switch to Automation | Volume and you'll be able to edit your drawn-in-with-the-fader control points. Also note that Clip Automation | Gain will affects the level at the very top of the strip (right before the 'Gain' knob, I believe). It occurs before the FX Bin and the ProChannel (regardless of which order you have them in). Practical upshot, it can change the tone of whatever you're playing on the track if there's some distortion/saturation added as an effect. Similarly, if the track is heavily compressed, changing the clip gain may have little effect on the volume. Volume automation drives the fader, the very last thing in the strip, so it will not affect the levels going into any effects you might have on the track, just the output level being sent from the track to wherever you've got it routed.

But to answer the original question, unless you really want to replace your bass with a synth or something, there's no reason to try to turn it into midi. What you want is AudioSnap. Turn it on, and I recommend you disable as many markers as you can (say, leave 1 per bar enabled) and then move the more egregious errors closer to the grid lines. Oh, turn on the vertical grid lines (1/4 or 1/8 resolution) in the Track window. If you leave all the markers enabled and start trying to move all of them the be perfectly on grid, you can run into 'problems' down the line.

"You take that back, my mother was a saint!"