mettelus

I am not familiar with Vegas, but this seems a little odd to me. I just checked a quick video on that and it seems the U and G shortcuts (Ungroup and Group?). He didn't specifically delete the audio, but scooted it well after the video. Maybe someone can chime in on that, but I assume you can delete as well. I have shifted over to DaVinci Resolve Studio, but also work with video >4K, for which Studio is required. I am always hesitant to mention other software, since you are already familiar with Vegas (which has been around a long time). Programs once they get enough years under their belts become highly capable and the user manual's page count tends to reflect that. The integration with Sound Forge is another perk. As long as you can stack audio and zoom in, you can place the DAW audio into position before breaking the link to the original video audio. In a sample-rate mismatch scenario, some video editors will also allow you to to fit audio between two markers (say a transient at the beginning and end of an audio track), so there are various ways to tackle that challenge as well. Sorry for the distraction there. I guess my real point above was that most work should be done in the video editor (when possible) and anything done in a DAW needs to be done with the ability to relink that DAW work back to the video (i.e., same length).

Are you physically swapping these drives or are they permanently connected? And how are you choosing which OS/drive to run as C? If they are two physical drives connected, I would start with checking your UEFI/BIOS, since that is where the C drive is designated. Two physical drives both with an OS on them can confuse the crap out of that, so it may be trying to determine which drive actually has the "OS" on it. A little more insight into your situation would help us understand better.

Not necessarily "required" but this does help. An alternative to try is: (Many) cameras also record audio, so be sure to capture that (you probably won't be using any of it, but see below). In a video editor (not a DAW), you can essentially replace the camera's audio track with the DAW output (be sure the sample rates coincide). The clapboard technique of aligning transients should be simple prior to removing the camera audio (essentially split the video from audio in the video editor, align the DAW track (don't remove sections from it in the DAW, to make sure they mate end to end), then re-link the video to the DAW audio in the video editor). From there, again working in the video editor, the video/audio will remain mated (important point), so you can ripple edit out sections as needed and they will remain aligned. When working with multiple cameras, this also allows bebopping back and forth between views. Big picture, a video editor allows for seamless ripple/razor editing, so keep what the camera saw in mind when working in the DAW and be sure to only remove content in the video editor (after the video and DAW audio are mated). Depending on the video editor, some are also VST hosts, so you can minimize time spent in the DAW before working on the video aspect.

If a source is mono (e.g., a microphone), there is no "stereo" to it, so recording it as mono is the proper route (and leaving it as such). For an individual track, the (stereo) interleave, (stereo) FX used on that mono track, panning, etc., and sending to a stereo bus (default) is where the "stereo" comes from (and how to mix it into the entire piece). @bitflipper posted one of the best posts ever over 11 years ago on the old forums regarding this, so it is definitely worth a read if interested. Bottom line, the raw audio is mono (from a single-point recording source), and best left that way; how it is incorporated into a stereo mix is what is important and should be understood.

Alas, no, but Schwartz is okay.

It is possible it has been nabbed by another app on your computer (or ASIO is locked to another device), did you try shifting CbB into another driver mode and back?

I am glad you got it working. Depending on things you did before the Gibson era, your legacy account might have a bit in it. Many of those installers are offline, so is worth copying/pasting the SN/reg codes from your account into a document for safe keeping (I went so far as to download all of the installers just in case).

IIRC, that was simply a SN/Registration Code (offline) initially, but was converted to work with the Cakewalk Command Center (I just checked this and the certificate has expired on the site, but it is still there). If you downloaded/installed from the CCC, that is also what should activate it, but you can also download the offline version from your legacy Cakewalk account.

A friend of mine an I were screwing around years ago with "Godzilla" and suddenly he stopped and asked, "How are you doing that?" Of course I was confused and he specifically pointed out the vibrato. I have put bass frets in everything I have redone and tend to use my ring finger a lot to squeeze and bend while leaving my index stationary. I never thought about it at all till he mentioned it, and it sort of made me self-conscious at first. Taller frets will give vibrato from pressure alone, but he has a couple PRS McCarty's and would never consider modifying them at all (I don't blame him), so I just winked and told him, "Welp, it sucks to be you then 😀"

+1 to this... I mentioned this in my first post (custom GUI and not cheap), but it is definitely worth trying out. The "demo mode" had an obnoxious phrase in it when it first came out, but they changed that to simple noise. The presets/FX in that are nicely done too, but one reason why I grab that one most often is the guitar itself can be tweaked in more detail than others. It was $249 when first released (now $199), but goes on sale for down to $139 at different sites. IIRC, the demo doesn't have a time limit on it, just the noise added. They went into a lot of detail on the performance, so is worth trying out (be sure to also refer to the manual, as the MIDI map on that has some nuances also built into it (harmonics, a realistic "stop," an such)). If you get into that one, you definitely want to take the time to make an articulation map for it.

I think you are right that it was Iron 1 (Focusrite freebie from way back when).

I assumed this was the case when I saw the list... which reminded me... I also forgot to mention above that the "Analyze" functions can be used on files on disc. This is also a reason the song list is so extensive, since it can just chum through a file for the overall output. In some ways this plugin comes across as a leaner variant of iZotope's Tonal Balance Control (on the mastering side of things).

Quick side comment on VSTis (in general)... bear in mind that some go on sale with pretty steep discounts. Both Iron 2 and Carbon were given away at some point years ago. Just keep that in mind when looking at VSTis.. many have sales early summer and BF so unless you need something "right now" it may be best to monitor them.

Might need to step back for a second to be sure basics get covered here. Sans additional pedals, an amp alone will typically have 5 control knobs on it (Gain, Bass, Mids, Treble, and (often) Presence) and that is pretty much it. Of course the guitar, pickups, specific amp, and performance (e.g., palm muting deadens the harmonic high end at the bridge) play a massive part in the tone, but the amp itself is where a lot of the basic tone resides (which can also be pre-staged on the guitar with volume/tone there). For the amp itself, those 5 knobs are what to learn intimately to best tone match a given song (some guitarists only have a guitar and amp available, so varying those controls (only) needs to cover the basics across the board, i.e., what do I adjust to shift from metal to jazz?). Metallica (and a lot of other metal guitarists) tend to run high Gain, Bass, Treble (6-8ish) and low (scooped) Mids (3-4ish)... palm muting knocks the treble down when chugging. You can Google amp settings for a lot of popular songs and get ballpark numbers to start with. The reason I mention this is that the above is not as dependent on the VSTi as it is on the FX chain/settings (IIRC, TH2 had a free Artist Pack with Enter Sandman as one of the presets). As you have Guitar Rig, you might be better to focus there and use a dry VSTi to tweak a simple amp/cab combination in Guitar Rig to set up tones you are seeking.

I will say there is a plethora of EQ profiles for this guy (a literal truckload of songs over various genres)! Most are for master targets only though (only track targets are guitar focused), but it does make EQ Matching a lightweight task (it automatically adjusts the "Analyze this" to match "Analyze ideal" (or preset), and allows you to copy/paste/save between those two columns).