mettelus

No worries, I hope you are feeling better soon!

This made me wonder... @azslow3 knows the construct of CWP files well, so he may have something already made for this. He could probably extract the tempo map from a CWP as well, since static tempos are not always applicable. I forgot offhand who made Project Scope, but it is worth shooting them a PM as well to ask.

Something to check real quick... Windows may be doing this to you. In Windows Search Bar, type in "Sound Settings" and at the bottom of that window there is an "Advanced Sound Options" at the bottom, click on the bar right below that. For sanity sake, check the volumes in the next popup (App volume and device preferences). and make sure your device is at 100%. Windows will let other apps adjust those (at a system level), so when things go wonky, that is something to check.

I have been meaning to submit a feature request, so just tried to post on the their forum, but the post button cleared the page in Firefox with no feedback (I did think ahead enough to copy that first). Ironically, it all fits into that tiny window in the "Feedback" within the app, so at least I got it off to them. Not sure if you re-tint things, but this was the crux of the request (for a "Clone Tinting Mode"): **** I have been using the water color brush for subtle (sometimes more extreme) clone tinting to often Paint/Mix/Blend. Most often this is done with very little opacity and water in the brush. However, to achieve this requires a bit of manual muscle memory (and the second one has bitten me more than once): Diffusion must be paused when doing this so that there is the precision required. When finished, the layer must be specifically dried (Shift-D) so that diffusion doesn't take over. Where this has bitten me is I am zoomed in while working, so if I move to another area and shift the brush (which re-starts diffusion), I do not realize this has happened until too late. My personal experience has been the watercolor brush is ideal for "clone tinting," so the feature request I personally would be to have: A specific "Clone Tinting" option (for me this could be locked to the watercolor brush). When in "Clone Tinting" mode, diffusion would be paused by default. After that initial mode selection, diffusion on/off would be at the discretion of the user, but entering that mode would always pause diffusion initially. When either exiting or changing brushes the layer would be dried. For me, this is more of the safety net, whereby changing brushes would automatically 1) dry the layer and 2) exit "Clone Tinting Mode." A big icon similar to the "Pause Diffusion" on the main work space would also be ultra-helpful. This feature could certainly be expanded in the future to include more brushes/options (other users may have more uses for this). For me, I have been bitten by forgetting to dry the layer, that this would be an immense help.

Escape Motions is having a 40% off "Back-To-School" sale across the entire site for those that are interested (including upgrade pricing I "assume"). All of the products with the exception of Rebelle 7 have been static for years, but Rebelle 7 (Pro) added some significant advancements when it was released last December.

Yeah, I am not sure if Notion has been touched at all since it was absorbed beyond the initial streamlining. Notion 6 has been static for years now.

Another thing you can try to confirm quick is another environment to confirm it is also persistent outside of the vocal booth to eliminate resonance in the booth as a factor.

In addition to "exclusive" modes that may exist within a DAW itself, there is also one within Windows specifically, so it is likely that Windows resorted to its defaults when it saw the new device. In Windows Sound Settings->Sound Control Panel->Select the device and then "Properties" (on the first "Playback" tab at the top). On the Advanced tab at the top of that next popup, be sure the "Exclusive Mode" settings are unchecked. You may also need to repeat this for the "Recording" tab in the Sound Control panel, as they are separate to Windows.

Do your audio device preferences for that project show the old device? Even if not, you may have to manually re-assign driver modes (something other than ASIO and then back to ASIO) to force the project to "forget" the old device ever existed. Projects try to maintain device info internally, so it might be trying to communicate even without the old device connected.

That is a real bummer... I thought they were actually closing shop so wondered why they didn't just unlock the last version to be perpetual, but alas they are still around and this blurb is right near the top of their page: "MakeMusic has partnered with Steinberg, the makers of Dorico, to offer exclusive crossgrade pricing on Dorico Pro." Since they are still around, the disabling of the activations of paid for versions is a bit odd to see, but they are forcing a new product onto people.

Cakewalk has the built-in drum replacer, but I forget now if you can use samples from outside that plugin. I seem to recall it could only use the sounds it came with and only covered a few kit pieces (kicks, snares, toms). As far as 3rd party plugins, MDrumReplacer offers all of the drum sounds from MDrummer (which is like 90GB of samples) and allows for fine tuning of blending, but is a bit pricey when not on sale. For what you are doing, try the internal Drum Replacer first and see if an FX chain on the blended replacement gets you want you want. Drum Replacer is a Region FX (like Melodyne), so can right click a clip->Region FX->Drum Replacer->Create Region FX. Quick Edit: What he did in that video above you can also do by dragging the audio onto a MIDI track then using the MIDI to drive a kit (very similar to what he did actually). The blending would then come from the faders between the associated tracks.

As mentioned above, you can simply insert virtual instruments and assign the outputs of MIDI tracks as needed to them. Also bear in mind that you can similarly point tracks within Guitar Pro to virtual instruments via LoopMIDI. I posted a discussion on that a while ago here. For jamming purposes, it may be simpler to stay inside Guitar Pro if that is your preference for composition (it also has more tools and playback options than you will find in a standard DAW as well). Quick edit from reading your other post. MIDI is simply note data (no audio), so you need to insert virtual instruments to play those notes so that you can hear them.

That is the only version guaranteed mpox-free... all other BLAHs use at your own risk.

Grab something like TreeSize Free and check your C drive. Many programs leave a massive footprint in the C:/Windows/Installer folder (that is a hidden system folder) by default. Folders that begin bubbling over 4GB are my candidates for junctions, but that particular folder cannot be junctioned or it disables the Windows Installer. Temp files in Windows/Temp and Users/appdata/Local/Temp also build up (those can be purged). The User/Downloads can be moved as well (or deleted depending on preference), but a utility that lets you see folder size is where to start.

Wow, I just found out they dropped the LP kits earlier this year (more rumor is that Gibson asked them to stop selling them). I am glad now that I didn't take the time to write a review up (did it on here instead)... they totally obliterated even any reference to them ever existing through StewMac. Quite a few Amazon links show, but those are all dead too.

+1 to both of the above comments. The embedded Windows defrag is actually sufficient for most instances, but it doesn't have the ability to "consolidate free space" on a drive that I am aware of. That routine is intensive and doesn't need to be run often at all (I run this about once per year), but what it buys you is massive writes (like a "Save As..." on a cwp project) will have enough space to write everything on contiguous tracks. That will cut down on fragmentation issues even occurring, since that is caused by the system filling "holes" that are available. Data management is far better than it used to be, so the system typically finds holes big enough to fit entire files in them when possible, but that doesn't prevent it from scattering associated files all over the place (even if individual files are not fragmented, the seek times will go up due to this).

They recorded Yoko Ono in 1970. Some are still not over that one. https://en.everybodywiki.com/List_of_recordings_made_at_Abbey_Road_Studios

I am not familiar with Monster Drums, so that may very well not be GM mapped. Another trick when mapping existing MIDI to a new instrument (I am "assuming" you have a single MIDI track with all of the kit pieces on it, i.e., one channel (?)... if not this gets more complex). If you expand out the Piano Roll View, you can run the mouse up and down the keys to fire off the kit pieces (to check what is where), and to move MIDI rows (kit pieces), you can 1) select the piano key (on the left) to select all of the data on that entire row, then 2) shift-drag (to preserve timing) that data selection onto the proper kit piece. When moving that row up/down, it should also be firing the kit pieces it passes over as you do so (be sure Input Echo is on). When working with multiple channels is where that can get tricky (why OMNI is the default mode), but OMNI can also cause grief because every instrument in a project may be fired off as a result.

Another thing to keep in mind is the dB level of that wave form is showing you the input into the FX on that track, not the output level of the FX. If you want to see the wave form of the FX output you would need to Bounce to Tracks (using a new track is highly recommended, so you can see it, then delete it without worry about the original track being affected). If you do a bounce to tracks either the original or the bounce must be muted, or you will insert a +3dB gain across the board from playing duplicate tracks. Another tip (similar to normalizing, but often more surgical), is you can CTRL-Left mouse button drag up/down on a clip wave form ("clip gain") to raise/lower the dB. This only works on the clip being hovered over (regardless if it is selected or not), but has the advantage that it redraws the waveform in real time (very nice feature) and shows you the dB change to the original (left) and the dB change you are making actively (right) in that pop up as you work.

If you insert Monster Drums into an existing song (as a "simple instrument" is probably the best start for you), then set the Output on an existing MIDI drum track to "Monster Drums" in the track view. If Monster Drums is GM mapped (most likely), then your MIDI track will start firing Monster Drums. You can Solo the Monster Drums track to check that out. Be sure to insert Monster Drums first, then it will be seen in the Output field on your existing MIDI track. Just in case your MIDI channels are set to Omni, once you verify Monster Drums is firing properly, you can then also Mute the original drum instrument you were using (so it will not fire by accident).

Waveform has a different workflow and some features are available via 3rd party plugins. It has bundled synths at times which are nice (and I use on occasion... and Fleer just mentioned), but I only ever had 8 and 10. Definitely trial using it first, the workflow kept me from using it personally.

+1, I get a chuckle seeing posts with "I have 150 tracks with 200 FX and my computer is choking." Just because a DAW has unlimited track capability doesn't mean a computer can handle anywhere close to that.

Drop "feedback" from your search, as that is going to rabbit hole you into a dead end. Creative use of LFO and modulators with side chain capabilities will allow delays and ring modulators to communicate on separate tracks. The summed output would then be on the master output (or a buss). Some FX do allow this internally to the plugin (e.g., MXXX) but they are often pricey and not intuitive. I would start simply with your tone generator feeding two Aux Tracks, one with a delay, the other with the ring modulator. The side chain is not to "add" to the signal (traditional feedback), but rather to adjust its performance based on what the side chain is seeing.

Quick search on that says the default location on a PC is "C:\Users\[your username]\Documents\Ableton\User Library" and seems that the files are sorted into subfolders by type, but not sure. Also check the user preferences internally to see if you have them in another location if they are not there. Side note with that... you can also add that folder above to the browser internal to CbB... formats that CbB recognizes can be drag/dropped into a project from that. The "alc" files are the ones CbB would not directly recognize.

Not that it applies to everyone, for sure! But then again it isn't overly "uncommon." Psychology folks like to study demographics; marketing folks try to apply that knowledge. I definitely find it interesting... watching people and their behaviors can speak volumes if you read them correctly. Then again, you can see the antithesis of expectations (in a GOOD way)... Years ago I was shopping around Christmas time with my kids and I suddenly stopped. My daughter could always read me well and asked what was wrong. A woman had walked in who was crippled, but she was smiling so much that she literally glowed. I just told my daughter, "That woman is the happiest person in this store, and she would trade places with anyone in here if she could." It was heartwarming in one respect to see someone beaming who had every right to complain, yet pitiful to think of all of the others who had more than most, but totally unhappy.