mettelus

This is what you want to do. MIDI has no audio (is simply note data), so there is nothing for drum replacer to process. In essence, drum replacer allows you to fine tune the audio you want to replace, converts them to MIDI hits, and replaces (or blends) that audio with another sound set (and a limited selection to choose from). Since you already have the MIDI, just point it to another drum virtual instrument (VSTi) of your choice and select/edit the kit pieces as needed.

This came to mind for me as well. Does this also exist in an export that is played on another system? As mentioned above, if you could post a short snippet (like 8-10 seconds) so we could hear it for the situation you are experiencing, it would make things far simpler on our end to better help you.

That is odd, I typically just use Control Map 1, but do not get carried away with anything inside the DAW. Do you have control surfaces assigned in Preferences->MIDI->Control Surfaces? The only other thing that comes to mind may be the File->Initialization File (since this happens on Sonar launch every time). The A-Pro Editor actually syncs to the keyboard with MIDI, and while changing the control map doesn't appear to be assignable (I thought it was hardwired only), it may very well be included in any ACT data if you are using that as well. Both @azslow3 and @msmcleod may have better insight on this as they both understand Mackie Control and ACT far better than I do.

Quick question, are you using the A-PRO Editor for setting up the 500? It is more convenient to use that for mapping than inside a DAW (for most functions), and the default map (the keyboard will use) is either toggled in the keyboard itself or with the A-PRO Editor. Another aspect with them is they have two MIDI outputs, the first is generic MIDI controller stuff (keys, pitch, bend), while the other sends all of the control functions (knobs, sliders, buttons) from the keyboard to the DAW. Do you have both of the MIDI inputs enabled in Sonar preferences?

Jim makes a good point. In addition, some nuts are slotted to a preferred string gauge, so anything bigger can get pinched if the slots are too deep and you are using a bigger gauge. TUSQ XL nuts are one of the best replacements out there (they have teflon in them) and IIRC are designed to accept 9-11 string sets. StewMac sells them a little cheaper, but not sure about the shipping comparison. If you get outside their intended gauge range (the TUSQ site has a lot of info), a luthier may be needed to open the slots on them.

The "Imported Audio Files" link you need to drill into from the one referenced above, but another thing I missed was "Copies are always made if the imported audio does not match the current project’s sampling rate" (in addition to edits). This is to reduce CPU load so the program can just run from a reference file rather than processing sample rate conversion (SRC) continuously.

Also see this thread. Cakewalk defaults to per-project audio folders and there is no way to disable that anymore. If you do any destructive editing (bounces, etc.), audio that shows up in the project audio folder may actually be an edit and not an import, so be careful with blindly deleting content from that folder. Pointers in the past used to be a nightmare when the global audio folder was used. It is more common practice to work on a project, then remove audio that is no longer used by doing a Save As... to a new folder and check "copy audio with project" (only audio actually in use by that cwp will copy to the new folder). Alternatively, you can simply move your projects folder (in preferences, file locations) to where you are importing from. That will keep data off the C drive completely and it is common to have projects located on another drive.

This is probably coming swifter than most expect. With advances in holography and AI generated "artists"/CGI, it won't be long before those become more prevalent. As with the Milli Vanilli example, the day will come when there may be no artists involved at all for an act, and everything in a performance and behind the scenes can be created with AI (just the business machine running the show). Those artists will never age and their voices will never change, and they can even "perform" at multiple venues at once (almost like a movie release). People will get tired of seeing the same artist ad infinitum, but behind the scenes it will be a simple change to make somebody new. If you have not already read about "Tilly Norwood" (AI generated actor), this is already causing an uproar and it has not even been used in films yet, but the concept is not very far beyond the same technology that brought "Thanos" to life, just no actor is needed at all. Even the Sphere is doing a 3D rendition of the Wizard of Oz now where AI is interpolating motion in the original picture to expand the action outside of the original frame view into a 3D format. Positive flip side though... a woman in front of me the other day was buying "The Game of Life" so I said, "Wow, I have not seen one of those in years." The version I have tucked away is from 1960 so she joked it is pretty much the same, just the jobs have changed. Then she mentioned she likes to do real interaction with her son, so I told her to stay that course... social media is no substitute for human interaction and it saddens me to see people fixated on their phones to avoid human interaction. People will literally pull out their phone to avoid saying hello to someone, and we wonder why social skills are lacking.

+1, so many concerts are based more on visual, so if there is much exertion involved at all (especially with vocals), it will affect performance. Go jog a mile and sing a song while doing so... see how long the performance sounds good. Examples of this abound. The funniest one I ever saw was Justin Bieber yacking his guts out on the stage while the song kept going with his voice in tact. It only seems to get attention when someone makes an issue or a technical glitch happens (the technical glitches make them obvious), but many don't seem to care.

Welcome to the forum. The most obvious question is the track you are trying to record armed? When you hit "Record" in the transport, only tracks that are armed (the record button on the track) will actually record; the rest simply play.

Google 3D spectrogram. iZotope's Insight (included with Ozone bundles) is the one I use, and I also believe T-Racks has a 3D spectrogram as well, but not sure. There are also probably others. Although 3D can look cool, precision editing is better achieved in the 2D format (intensity = vertical height), with the utmost importance on the resolution of the spectrogram... as long as the resolution is high enough, harmonics stand out readily in 2D format and are easy to select/edit. The other advantage to SpectraLayers and Ozone is that you can separate stems first (not perfect, but workable), which allows you to isolate harmonics to the instrument you want to focus on (if the wave file is already mixed). You can also do such in a two-step process (there are free stem separators out there)... separate stems, edit via spectrogram in a DAW, then re-assemble in the DAW. A caution with stem separation though, they often leave residual frequencies in one stem belonging to another, so isolating a stem to be "pristine" may require a lot more effort than you bargained for.

+1 to the above, we definitely need more background to understand this better. Also, are you referring to the bass track when soloed or when mixing? An audio snippet of whichever case would help even more than trying to describe in text.

Roger that. The term for that one is "spectrogram" which gives a visual representation of frequency intensity and creates a "track view." Spectrum Analyzers (like SPAN) are basically if you turn the "now time" into a knife and are viewing the spectrogram's cross section as the play head moves (just the now time location is displayed). They each have their purpose in one's tool kit. Regarding spectrograms in particular, they are often used in post-production for things like noise removal, surgical tweaks, and other editing tasks. What differentiates them are the tools included, but most have selection tools that literally work with the spectrogram as if it were a picture (lasso/selection, erasers, "heal" tools to meld content uniformly (essentially a "blur" brush in a picture app)). Depending on what you want to do with a spectrogram app, you may need to get a higher (i.e., not free) version, with Steinberg's SpectraLayers and iZotope's RX being the most comprehensive IMO. For noise removal in particular, apps that can capture a "noise print" from an area that is supposed to be silent (often the lead in/fade out portion of an audio track) and then remove that noise print from the rest of the track are the most effective.

The unwound strings in particular (the ones you say are de-tuning) have less friction to each other on the post wraps, so I have always wrapped at least 4 turns on those strings. The purpose of the kink in the "luthier's knot" is to provide additional friction against the string being unwound (from slippage) on the post. Even when changing strings I loosen them just enough so I can "unwrap" them fully by pulling vertically at the post, then a slight tug will unbend that kink and pull it out with ease. The more wraps, the more friction... BB King was notorious for wrapping the entire string on posts. It is the same principle with ropes, especially things like rappelling... without a wrap of rope behind you to add friction, there is no way on earth you can control your body weight with one hand for five minutes with any degree of control. Even ascending ropes, a wrap is commonly used on one leg so you can pinch the rope on top of that foot with the free foot with very little force to rest your arms (even people with little upper body strength can do this method). People zooming up a rope with just upper body strength like the Man in Black at the Cliffs of Insanity is not common at all, but no one messes with the Man in Black (it's inconceivable)!!! Then again (back to the OP), locking tuners are a means to keep the string from slipping on the post... the "King Kong" version of the "luthier's knot" kink, so fewer wraps are needed and string changes are quicker. If you change strings often and don't have a string winder, locking tuners will certainly pay for themselves with the timed saved.

Yeah, if you have a hotmail account (free or not), you have OneDrive... due to the timing of this, a pop-up just sprung up automatically last week asking me if I wanted to sign up to ESU for free. Simple things like using Bing as your default search engine will rack up reward points (the other free method)... having your MS account linked to your computer will make any Bing searches rack up points automatically just by being logged into Windows.

Shame on you! In all seriousness, there are a lot of "hidden" features built into the free SPAN that not many use or even know about. I cheat even more to an extent by Googling "Can [this app] to [this detailed task]" quite often. Even simple things like overlapping tracks to visually see frequency collisions the free version can do just fine. I posted a gif analyzing a phase switch I installed in my guitar on the the old forums here (hard to believe that was over 10 years ago already). I inserted the SPAN gif from that post below.

Remember when Roland use to do their 2-hour interactive webinars? I actually just tried Googling to see if they are still alive, but cannot find any. I forget now if they were ever posted to YT or stayed resident on Roland's site.

The first grab in your video worked as expected (unfortunately waveforms don't redraw till you release), but the second (adding another clip does not). I actually captured similar in a video doing the same with track heights and said, "ooh, I found a bug... this should be working." What I found in that instance was that adding another element after processing the drag fails... the only way for it to function properly was to reset the selection and select them all from scratch again. Try deselecting and then re-selecting them all (+1) and see if that works as expected. IMO that is a bug, but would come down to what the bakers intend for usage.

Melda's MOscilloscope is part of their Free FX Bundle and one of the better ones out there. One of the best free spectrum analyzer's out there is Voxengo's SPAN. Both are free and have been around for years; and being 3rd party, they are not bound to any DAW or video editor so can be freely used in anything that can host VSTs.

Be sure to create an image or backup (image is preferred) before tackling things of this scope. For most installations, the last installation dominates, so if you install an older version with an earlier set of shared components, you will need to re-install the latest version over top of that (even if already installed) to bring them back to the current version.

This is where you should have stopped; your needs were met. Unfortunately, it is fairly commonplace for folks to rabbit-hole others with "my way is superior" rather than reading the OP and answering the question/intent of the OP. Suggestions are perfectly fine and more than welcome, but invalidating another's efforts and destroying their work is WAY over the top for me. Very rarely is there only one way to do something, so how others do something is totally irrelevant if your method works for you. I am sorry you went through this, especially since you were struggling and found a solution. If you want to take on suggestions for other methods when you have free time, that is a perfect way to learn and expand your toolbox, but be very wary about undoing a method you know works already.

When doing complex routings, it is better to sketch our your specific needs so 1) you can visually see the setup and 2) track connections (ins and outs) since each one is "consumed" as you use them. Work backwards on that sketch... from the OP it seems your recording to Filmora, so your video (screen capture) and audio mix needs to be seen there. Most video software has a "split audio/video" option, so I would leave anything "post-production" for that. Just do any ripple editing in the video software with the audio/video locked to each other so you don't slip them apart. You said you had VoiceMeeter working(?), and that exposes more outputs for you to use, so not sure why you deleted it. For audio routing, you want the output of the video editor for one you are editing (1), your microphone (2), and any extraneous audio (3) to output so Filmora (or your screen capture software) can see it as an input. The virtual mixer in VoiceMeeter allows you to combine all of those and adjust levels to give the final input to Filmora for a screen capture. Keep things as simple as possible, a DAW is not needed to capture the mic (Filmora will do that directly), and you can ripple edit and split audio/video post-production, so no need to have the computer do the same work twice. Only use connections that you need... audio from work you are editing and microphone seem to be about it from the OP. If using a loopback from an audio interface, you can just combine them there, but also realize that is "consumed" as well... if you loopback those to Filmora for a screen capture, you cannot also monitor what Filmora is recording with it since it will create a feedback loop (you would need to monitor via headphones on the audio interface to hear what Filmora is seeing during the capture). Bottom line is to check all routings... what do you need to hear/monitor, and what does your tutorial need to hear/record? When reading what you are trying to do, it seems that a DAW is superfluous to me... what is the "need" for a DAW in what you are doing? A video tutorial is your end goal, correct?

+1, even the tuners on my dad's old 1942 Harmony Nobility (fixed bridge) don't unwind. The friction on those is adjusted with the flat head screw on the back of the post. That tuner style is as basic as they come. Again, if a tuner is unwinding the peg has to move. Another idea that came to mind is if that guitar does have a tremolo, most (all??) tremolos move all strings by the same amount, so if the string tension is not balanced, the higher tension strings will be more likely to bind on the nut. I have used D'Addario Balanced Tension strings for years without issues, and have a floating Kahler tremolo on my main (I almost never use, but I did axle grease the internal hinge pin when I tore it apart 30 years ago). Even with all of the bending I do that doesn't de-tune (the neck is so narrow a full bend puts tension on 4 strings, a standard width neck puts tension on 3); the tremolo just rolls on that hinge pin without issue. Are the strings that de-tune always the same string(s)?

I thought they responded on weekends, but last time I had to contact them was a long time ago. What was the solution? IIRC, Melodyne comes in payloads you download when logged in specific to your account that are set to install/unlock what you downloaded, but I forget now if you can unlock the trial without getting that payload specifically? The program is actually Studio regardless, but the features/locks are in the payload bundle IIRC.

A few high-level comments based on the limited information above: Make sure your system is setup so One Drive is not defaulted to anything (including documents). This article is probably a good starting point to review as it mirrors your first issue, but Google searches with a specific issue detailed as much as possible tend to yield better hits. Re-download an installer. I had a bad installer (one of the 2GB parts for X2) that caused me grief for months. One of my very first posts on the old forums was a flaming mad rant on that (but got MD5 hash checks added to download files!). A couple of your screenshots suggest that installer may be bad, but could also be attributed to where your TEMP directory for installs is pointed (did you ever modify that?). Check the permissions on folders that cannot be written to. When moving files from another computer, they can often be set to read only, and permissions may be another problem. There is a nice "Take Ownership" utility that has been around for years that simplifies this. When logged in as an Administrator, you can simply right click a folder/file/whatever and "Take Ownership" and do whatever actions you please at that point. This is a script and needs to chum through every file, so make your selections as small as possible with it (I do one folder typically).