mettelus

There are also a handful of VSTs that can take focus away from the DAW, so the spacebar (or any keyboard input) is not sent to them. Additionally, you can give keyboard inputs to the VST directly, which may be enabled (upper right of the VST window). Does this behavior still occur if no VST windows are open at all?

This stands out like a big red flag for me. Is it possible you have those project/audio files set as read-only? Sometimes when simply copying/moving files from another (external) drive, that happens. It made me wonder if that could also be the cause of the crashes, but Cakewalk should throw an access violation (although might not if it is a crash to desktop).

This was my reaction as well. If the performance wasn't great, song analyzers won't recognize them anyway. With 6000, that is a lot of time to invest in something. You can still download MIDI files if you putz around on the internet (sites like BitMidi, Midis101, and the like), so it may be a better route to seek out something you want to work with. Over the years, the MIDI renditions have gotten far better than they were 30 years ago. Also, MIDI files that were well done often have blank tracks in them with the song title, artist, and performers as track names. Those you can easily identify just by opening with Cakewalk if TTS-1 is enabled and no MIDI output is selected. I have a slew of MIDI files from that era too, many I listened to only once, I know what they are, and I have never even considered using them.

Is an inductive motor kicking on/running when this occurs? AC, dryers, and refrigerators are typical heavy draw items (another indicator is if lights flicker when the AC kicks on, or a vacuum is started). Again, a conditioner is like a giant capacitor in a way, it needs to also draw power to work and will only last for so long before it loses capacity as well (it might last long enough to cover the gaps you are seeing, hopefully it will). Have you ever gone down and checked the amps on the breakers for the house? The main is the biggie, since that controls the entire box, but the sum of (and loading on) each room can affect the entire house (internal to the box, breakers are simply attached to bus bars so the power distribution is common to them all... why I asked about starting/running motors). I would check that or have an electrician look at it just to get a feel for what your situation is. I am the second owner of this home and the breaker box had essentially no mapping to it when I moved in, so I took the couple hours to map out the distribution in the house. I have actually tripped the breaker (selective tripping) to my studio running all the equipment on higher power (whole lotta amplifiers), but that was just screwing around and at a level that would deafen me with any prolonged exposure. To that end, also check the power draw on equipment you have connected to your studio specifically (especially amplifiers of any type)... wattage/voltage (assume 120) will give you the current draw... if those combined exceed that room's breaker (I am assuming it is a slow-blow/time-delay breaker, why it will endure the sag without tripping), it may be already strained from the powered equipment on it. Again, that goes back to the breaker box/electrician. If the main can handle it (important point), you can beef up the current to a location BUT the ratings of the Romex installed must be known since that current cannot be exceeded (can cause a fire). To pull those kinds of current, definitely involve an electrician. When I put in my pole barn I ran 80 amps off the main, but the cabling for that is not typical Romex... that stuff is so thick (100-amp underground distribution cable) I kept the extras just in case I needed to replace the starter wire on a vehicle at some point. Hopefully the Furman will get you where you need to be! I wanted to throw the above out just in case.

Another quick comment to the above is you can also pre-coat strings with something to protect them better, both before and after use. Fast Fret is one option, which I believe is liquid paraffin (aka, "white mineral oil"). A friend of mine swore by that stuff, and a can will probably last for years. It is mainly thought of for making strings slick to remove string squeaks, but being a wax it is also a temporary protectant, just like wax on a car.

That is a good question. If not in a rush, sites like CyberpowerPC (linked to all their NVIDIA laptops) offer rolling sales on various products, so a little patience can save up to $400. Unlike their desktops, it seems their laptops are all pre-built, so there are no options to customize components (even the RAM capacity it seems), and it seems the default boards are Intel Raptor Lake HM770. If you have a specific component/build type your are seeking, a Google search on those will often cue in the vendors making them.

+1, I haven't had the time to kick the tires on 20 yet, but will soon. One of the nice adaptations across the board with video editors is they are realizing (and catering to) their "hobbyist" markets more. With the prevalence of short-form/portrait video apps, there has been a definite streamlining of being able to work with and deliver those with a lot less pain than years ago. The "vertical workspace" in Resolve 20 actually stuck out to me for this reason... there are a lot of people that want to "just edit and finish" something rather simple without the need to "deal with" the format or all of the other features they may not care about. It used to be the thumb rule was "shoot landscape even if delivery is portrait" (losing resolution, but avoiding the pain of a portrait-to-landscape scenario), but is nice to see that is falling by the wayside since the tools have evolved.

There are quite a few comparisons between the two apps, but they are often biased one way or the other (can tell from the embedded advertisements). I finally remembered where I saw a nice overview comparison, and it was a sidebar in a video of editing 3D drone footage... of course I cannot readily find it. Bottom line to that was in addition to the Premiere Pro subscription, you also need a Mocha Pro subscription, which ends up being $600+/year combined (can be over $1000). Resolve Studio is a one-time purchase ($295) with free upgrades for life (it has gone on sale more cheaply, but is very rare with one recently for $235), and includes the most of the FX you would get Mocha Pro for. One video I just saw (bookmarked for the price part) the guy joked that price is the "low hanging fruit" (everyone knows this), and his bottom line reasoning was that using Resolve is like a fluid video game (which can get resource heavy) versus Premiere which can stutter and glitch as it thinks to repaint itself when shifting work flows/tasks. [Sidebar of my own with a little more background] That said, the reason for the price difference is also that Black Magic Design makes money from (sometimes VERY expensive) cameras/hardware. Resolve Studio is actually free if you choose go that route for obvious reasons. Similarly, the 3D camera I got is from Insta360 (the ONE RS Twin edition) which also has a free Insta360 Studio app (both for phone and computer), but you can only use it if you have a camera linked/registered. That app actually taps into the camera memory, so you can do a lot of rough editing/camera control from your phone in the field (remote control), and the desktop app has advanced leaps and bounds in the past 5 years, allowing for very quick initial editing before pulling footage into a heavier hitter like Resolve or Premiere. My 3D interest initially stemmed from the ability to track a moving target without needing a camera operator (the object "tracking" is done post-production), and the fact that the lenses each see 220 degrees, so they auto-zip that overlap to remove the selfie stick, stand, or drone carrying it (but you can see the shadow of it on the ground in the link above). I have never had the guts to submerge it, but it is also water-proof to 16ft. In just the past 5 years, a lot of their smaller cameras have gotten more capable (higher frame rates and resolutions), but the ONE RS is still the same model I got. Some really nice features with those cameras are the "FlowState Stabilization" (for bebopping around while doing things) and "Horizon Lock" (to keep the view level)... these are shown in the link above. Their cameras actually record gyro response in the video footage, so you can get movie quality results with the ability to field edit before sitting in front of a computer for the final post-production. Quick edit: Their Insta360 Studio app also allows for exporting a "flat print" of a 3D video (with the focal point and focal point tracking of your choosing), so you can pull that rough edit into a video editor that cannot handle 3D footage.

Yeah, that is why I am trying to get a feel for if this is systemic or localized, and under what conditions it is occurring. Eaton does industrial electronics (made some very unique ones used in my Navy days), and has a nice summary of power conditioning on their web page for anyone interested. They actually have a pretty hard core rack mounted unit with 14 outlets for $425 listed on that page; but if Geoff has specific questions, I would recommend contacting a vendor for specifics. For something like that I would lean more toward an industrial solution (if needed) over a consumer one, but I am still wondering if a simpler solution is adequate (i.e., if the issue stems from loading on the local circuit).

Can you explain this further Geoff? If you are connected to commercial power, I am confused how you could experience a "sag" or recognize it as such. A portable generator will sag, since it loses RPM momentarily when loaded, but commercial power won't see this (would be more circuit related). As Tom mentioned, a UPS would be more appropriate, but I am trying to understand your situation better. If this is in a static location (like your home), having the circuit to that room modified to a higher amperage (30-35) might also be a solution since most circuits are 10-20. Typically the only sag seen with such circuits are when an inductive motor kicks on close to the circuit rating (an inductive motor pulls 3-5 times its running current on start, so a 13-amp vacuum will pull roughly 50 on start, but that is only on start). Are you experiencing this sag when everything is already powered on and running in steady state?

Only one ASIO driver can be selected at a time, so if the wrong one is selected (I am assuming this is the case if you can see the one you want but it is greyed out), you need to uncheck all ASIO devices currently in use, hit "Apply" (to deselect everything), then select the correct one. Have you tried this?

Quite a few new features and significant updates with this release. I can definitely see how the voice modeling can/will cause some contention (37 minute mark and onward in the above video)... way too easy to abuse this feature (without the person's consent). Also note that it seems many of these new features are linked to the Studio version, but I couldn't find a definitive list quickly to verify (only the generic descriptions on the main download page near the bottom).

Have you tried any VSTs that are focused specifically on Theremin? I did a quick search for that and #1 on this list might be a good candidate (and is free).

This also only addresses the input side, not any follow on FX (especially compression) that collapses the dynamic range back down anyway (or the hearing capability of the listener if you want to take it to the end point). I used to joke with engineers that most calculations only need 3 significant digits and an order of magnitude to be used, and many would get the deer in the headlights look when I asked if they carried measurement tolerance errors (+/-) through calculations to the final value (almost never the case). Engineers often get more excited with a crapload of numbers than their real-world application. Then again, guitarists need to not only worry about attack pressure, but also pick angle and distance from the bridge. We need more MIDI parameters for those 😆

+1 to what Jonesey said above. By inserting Melodyne into the FX bin, you bypass the ARA functionality of it, which allows it to communicate back and forth with the DAW in real-time for the region selected. Only as a Region FX do you have all of those tools at your disposal. A simpler way of putting it is that most FX only see what is coming in real time (or a brief window beyond that), but a Region FX passes all of the data to the plugin so that it can work with the whole thing at once (and send changes back to the DAW as you do). While you "can" leave Region FX in place, it is better practice to make them small, do your work, then bounce the result (the original audio will remain in your audio folder). Not only do Region FX have limitations (at the bottom of that page, with splitting a clip being the most common one), but leaving them active will make your project file larger and take longer to load (i.e., Melodyne will launch and do its analysis each time you load a project file with Melodyne Region FX's left enabled).

This just stands out for me. The OS drive is the only one that requires imaging, and the others are really more "data drives" to the system. I use xcopy/robocopy scripts to update data drives (and copy newer data from C onto D). Setting these to only copy newer/modified files is very quick (after the first pass, which copies everything). Copying newer data from C to D takes roughly 10 seconds, and the data drives to external can take several minutes doing this. I keep my OS drive small on purpose (>200GB for imaging), so the back and forth (image<->restore) takes 12-16 minutes. When you said "10 hours" it made me wonder if you have done a restore, and how you protect files since the last image done prior to that restoration. Data files that have never changed since installation do not require constant backups, more a "once and done" deal. Running drives through their paces can also lower the lifespan. I did a few write ups on this in both this and the old forum with more details on scripts and usage, but the "10 hours" really stands out for me... I have actually had several instances with removing programs or bad installs that doing the 15-minutes restore was the easier way to clean the registry (by far).

I agree with this, and may be linked to their steadfast launch date. I didn't delve into their forums much yet, but caught several things out of the chute that were odd or unintuitive. I didn't look at the manual yet either, so will delve deeper this weekend. After the uber long VST scan I only spent about 30 minutes with it thus far. The top three that caught my eye were: Using the VST host feature when Scaler 3 is inserted into a DAW causes the DAW to take focus when Scaler 3 is touched and shifts the VST behind the DAW, requiring a second monitor to actually use (unless you love Alt-TAB). Regardless of voicing used, it seems all the notes of the chord are activated on the fretboard view, so the VSTs I tried are only registering the highest notes (i.e., no folk chords). I did see this asked on their forum, but still need to follow up with the manual and more use, chords are set to straight bar count, and although you can hover over edges I didn't find a way to change duration in the Arrange View short of the x.5, x2, etc. that were used in Scaler 2. I was hoping to be able to just adjust length on them with the mouse. Ironically, I was specifically intending to check something else, but those three sidetracked me in short order.

This was the same model that SONAR Platinum had. The downside to this is people can wait for the release of a feature they really want before buying a copy; not only do they get everything they skipped in the version they buy into, but also the next 12 months of updates (whether they care about them or not). In a market that has already matured, it is a liability to employ such a model. To put this into an extreme example... how many people get excited (or care) about new word processing features? I can do everything I ever needed in Word 2007 as easily as the "current" version and not miss a beat. The demographics of the market also needs to be considered. The younger generation is very much "right now" focused, and the "AI" freight train is coming up fast... It won't be too long before one can hum/sing a melody into a cell phone and it can be snapped to key/tempo and build upon without any music theory knowledge whatsoever. The listening market is already saturated, but the future will have an even greater disparity between "live performers" and "software musicians."

Thanks for that. Similar happened with RiffStation when they released it to everyone. The activation servers went offline, so the purchased version couldn't be activated, only the free (unlocked) one. Luckily I had downloaded two copies of the free version "just in case" but didn't realize I needed them till I loaded up this machine... it is a difficult app to find now, but the paid version can no longer be activated.

I have never swapped sample rates mid-project, but this got me wondering. Since you can drag/drop a cwp from the Sonar browser to populate a new project, if you lock that new project with audio at a different sample rate, does that desync things in Sonar? I was under the assumption that the embedded SRC would kick in for that situation (so for the OP the 96K content would all get converted to 48K), but never thought to try it.

Something to check would be the Disk Management for each OS after it loads (ironically, "Create and format hard disk partitions" in the search bar is how to call it up). Check the bottom portion of that and see if the drive assignments jive between the OS drives when swapped. That is always something to check when swapping/installing new drives, especially if you have junctions in use. Windows gets rather weird and decides drives assignments on its own sometimes if you don't manually tell it how to function in that window.

Forgot to mention, attachments are limited to roughly 4MB, so if you have something bigger, it needs to be hosted on a server (YouTube or similar) and the link can be posted so others can access it.

I came from an older version of Premiere Pro (CS 5.5), so looked for that on Google to find a more relevant version to be sure the menus weren't drastically different. Below is a quick video bookmarked where to show the waveform. Be patient with the learning curve, especially with video editors. Adobe has a massive submarket on tutorials/classes, so it is often simpler to do a very detailed Google search of exactly what you want to do and eat the elephant a bite at a time that way. As with Vegas/Sound Forge, one of Adobe's strongest assets is that data can be shared almost willy-nilly between Adobe apps, specifically Premiere and Audition (their wave editor). Another "trick" with video editors is the snap function with them, so if you razor/ripple edit a video first, you can export the audio from that to import into Cakewalk... if you prefer to line up transients in Cakewalk, you can then use the camera audio as your guide for alignment and split the audio clip in Cakewalk, do your work, then export that and import it into Premiere and snap it to align with the original clip. I would recommend focusing on transients first (whether in Premiere or Cakewalk) rather than the camera aspect, and find out what workflow you meld with best. In many ways it is akin to creating a tempo map from something done without a click... you are going to face that issue at some point, there is more than one way to achieve it, and one of those ways is going to become your preferred method. Especially with learning video, keep tasks small and specific, and there is a good chance someone posted about that online for you to read.

Roger that. With multiple cameras some sort of visual "clapboard" helps if those feeds are separated, and depending on the view. Are you recording those cameras stand alone, or fed into a common host? The reason I mention that is there are video plugins that will enable multiple camera capture into editors, but depending how intense that is, it could require a laptop dedicated to video only (so it won't interfere with your gigging audio at all). More stuff to lug around and worry about can be stressful though. That would also accept a monitor feed from the mixer to sync everything during recording. Of course, as soon as I mention that OBS Studio came to mind as well... I have used that all of two times, but need to delve into that guy deeper to see what its capabilities are (especially since it is free and more and more hardware manufacturers are making drivers specific to OBS).

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).