mettelus

I am not sure if that includes v9 or v10 though?

The serials are from Steinberg, so they need to be redeemed/activated/installed via the Steinberg Activation Manager and Steinberg Download Assistant. The MAGIX deals have been the cheapest way to onboard with SpectraLayers Pro (current version), but they are separate applications so not bound to each other. Quick edit here: The link in the OP doesn't specify which version of Pro it is, so I Googled "Magix Sound Forge Pro Suite" and that reads that it is version 9 (the last version, current version is 10).

^^^^ Also a little higher level for clarification with this, assuming you are unfamiliar based on the OP. No offense intended by assuming this. Inputs are only required to record audio into a project and are physical constraints of the hardware being used. Depending on which input jack you are using, that may very well be the same one for every track. It is only used when you arm/record to a track (which is how you determine when/how recording audio is achieved). If you are playing back audio only, no input is needed until it comes time to record. Outputs are similar, not only are they constrained by the hardware (4 in your case), but you also would need something to listen to on each output you are "using." It is very common to have all tracks output to the Master Bus and that to then output a stereo pair (left and right speaker) to one piece of hardware (speakers, headphones, whatever). Unless you are doing a complicated routing, track outputs set to Master, and your listening system (the physical output jack) enabled in the Audio preferences in Cakewalk will allow you to hear all channels playing in a combined signal. You can then mute/solo as needed in your project to exclude/isolate tracks, but the audio hardware output you are actually using is the only one required (and many times never changes, is just how you want the sound to come out).

I think Alicia's Keys has been in the Ultimate or above tiers for a while now (not Standard or Select). That particular library was the reason I bumped up my initial Komplete purchase way back when. For $13, Alicia's Keys is an incredibly good deal. It is very versatile stand-alone, but even more so with an external FX chain and/or layered with other instruments.

This is a big differentiator on why people would sign up for the Adobe subscription or not, either they are making revenue to absorb the cost, have a 3rd party paying that for them, or just see it on the same level as their monthly cell phone bill. @TheSteven's point also includes that if you end the subscription you lose access to the program that created the files, so that can also end up being a do-loop if you cannot offload them into a format that another program can use. Fortunately, a lot of the end-point media formats are universal and can be re-worked in other applications but this is not always the case. Quick edit: Somehow got from Melda Production to Adobe! The other issue with the Melda rent-to-own model is the "full price" part stays the same... you just take 3 times longer paying it off.

The only issue I have had with their sub is there's no defined off-ramp, i.e., it is a full-price (in payments) and what you have paid already cannot be used for other promotions. The trials are pretty liberal, so if you take to their plugins, it is more cost-effective to nab one-offs on the individual sales as they hit (which will start to lower the bundle costs) and save up for the 50-60% bundle sales to hit (seems to be at least twice a year now).

I clicked on the link in the OP and the "at a glance" section right under the picture has the Brand listed as "HDY" Be very careful about listings even on major retailers... a lot of the retailers know nothing about the product, so false advertising can slip under the radar fairly easily. Often they use exact duplicates of the manufacturer's promo material (just copied from the real product), but it is not until you start digging that you find they are a knockoff.

Rewind on this a second please. What is the audio interface? As long as it has a USB output connection to it, you should only need a UBS-C to [whatever the audio interface has] cable.

I am sort of curious now if this was implemented due to the NYT article that was recently posted. It may have been implemented to show due diligence for potential litigation headed their way.

Unfortunately, a lot of the bad actors collecting the money are not even within the realm of US prosecution (you can search for state-sponsored hackers making significantly more stealing crypto-currency). Just for fun I asked someone at the USPTO many years ago now, "How many copyright infringements do you have on file against China?" and got "Way more than I could count... it is a LOT." So of course I followed up with, "And now the punchline... what legal recourse do you have to prosecute them?" and I got the deer in the headlights look back. End of conversation. The streaming services are the enablers for the thefts (they can be gone after to a very limited extent), but they have already doled out funds they cannot recover and will fight tooth and nail not to pay twice or admit fault. Given the background of both of these guys they should have known that from the start, but they definitely know the uphill battle ahead. As much as people complain about Google data collection, realize there are similar services doing the same thing, with people on the back-end searching for ways to monetize what they are collecting. I have stated this before, but it is always worth repeating and something to keep in mind (and be sure your children understand this). Everything published to the internet is accessible to anyone in the world, is permanent public record, and may fall into the hands of people with skewed "moral compasses."

PreSonus has shifted a lot of their hardware to use their Universal Control software (installing Universal Control has options to install the drivers for about half a dozen audio interface types included). The virtual loopback is embedded into that application via the virtual mixer (similar to OBS, MixControl, and the like).

More an FYI since it is not stated outright on the PB sale, but Vielklang is "Discontinued but supported through 2024." I was sort of surprised that this is being sold.

When you mentioned Guitar Tracks Pro, are you working with old .wrk files? One idea that comes to mind is open those old files first, then "Save As..." with CbB with a new name to a .cwp file. Test that out with one of them first and retry what you have been doing to see if that helps. I am not sure of your system specs, but it could very well be a system configuration issue. I would try the above first to see if that does anything for you before digging deeper into things.

Type "Services" into the Windows search bar and open that app. You can maximize that window that pops up if too small. Sort the services by name (click on the top of the first column to sort), and scroll down to "PreSonus Hardware Access Service." If you right click that you can stop it there. Also, that should be set to "Manual" for Startup Type so that it only opens when you start the Universal Control. If that is set to "Automatic," right click that, select "Properties" and set Startup Type to "Manual" in the center of that window. A lot of Windows services default to "automatic" which is unnecessary if not in use.

Either closing the app in the task bar (right click -> Quit) or hitting CTRL-Q with the Universal Control window open and active will exit the app. It does not stay resident in memory. Once closed you should be able uninstall/re-install per the above.

Are you doing that with new tracks you created or the imported tracks? The only thing that comes to mind is if this is done to an imported track is there may be FX/routings present that are giving CbB grief. There are cases (where you cannot simply use older FX) that need just the track content (audio/MIDI) shift-dragged into the new track and "mixed from scratch."

I think the biggest hurdle for me personally when getting acclimated to Take Lanes was paying attention to the cursor as I was moving around clips. The smart cursor has several actions embedded into it, so zooming in a smidge while learning controls made it much simpler. Pay attention to where you are hovering and what the cursor looks like before taking "action" on clips. Once you force yourself to work through it a few times, it does become a very fast method to work with takes.

Not sure if you got this resolved, but also be sure to set either set something else as your Windows default playback device, or remove the driver manually (and restart). For Windows, the manual method should be similar to what Focusrite advises to remove their Mix Control app (the "For Windows" section near the bottom). IIRC, there was an update to the Universal Control in November about a week after I began testing it that resolved the only issue I had with the app. You definitely do not want conflicting installs running even if you need to remove both of them and install the new one from scratch. Quick Edit: One big advantage of the Universal Control is it includes the FAT Channel from Studio One, so you can process signals before they are written to disk. I think I saw a reference that they are not ASIO drivers, but they most definitely are (and rather capable ones at that). I was running them through multiple apps simultaneously and the only app that took exception to these shenanigans was Melodyne. Melodyne stand-alone literally had a heart attack doing this, but no issues otherwise.

Can you specify your workflow with this? Definitely start simple... if you highlight a single track on the left side of the Track View, right click it, then "Save as Track Template..." it should save as a .cwx file to the Track Templates folder. Then if you right click an empty area of the left pane of the Track View and select "Insert from Track Template->" that name should appear in the second list that pops up for you. Are you getting pop up information for the crash occurring? This is specific to Track Templates, not Project Templates.

^^^^ It is exactly like the link in the OP reads... if someone steals your user name/password they would also need to steal your phone to get access to your account (if you set up SMS as your authentication method). Banks are pretty much forced to do this now because stealing passwords is so rampant. It is more often used when a monetary transaction can be made (i.e., you have a credit card/account on file), but is definitely there to help verify that the person logging in is really them.

Yikes, "about $2 billion, is swiped annually"... pretty lucrative scam.

In addition to the above, also bear in mind that you can create track templates that include multiple tracks - they are not limited to only one track (almost like a mini-"project template"). As you flesh them out, you will get a feel for what you want for tracks, FX, buses, you want to be inserting as you work. In essence, it is really building projects from the ground up based on existing needs (via inserts), rather than top down via a massive project template which may consume resources that may or may not be used for the given situation (requiring removals). Realize that this is an iterative process, so as you go you may find that you get to the point that you have created a project while working that may be suitable as good project template as well. No harm, no foul. It is really more working with actual material (why I shy away from a project template out of the chute) and being consistent with track/bus routings as you go.

Quick synopsis here first, if you take a single track, you will add 3dB each time you double it. So if they were all identical and participating equally you will get roughly +18dB when summing 64 tracks (+15dB for 32 tracks). Basically every track would need to be roughly -18dB (when initially mixing) to not sum over 0dB at the end. When talking signals, signal-to-noise ratio is king, so as long as you do have enough difference between them to process the signal properly you won't destroy anything by lowering/raising gain alone, but it will affect thresholds of (existing) FX if done willy nilly and can also bring up the noise floor. If you have the mix doing what you want, there is no reason you cannot lower the gain at the final output. It is much akin to the end user adjusting their volume knob, which you cannot control anyway. You could also lower the bus gains similarly (-9dB for 8 "identical" busses), but as you delve deeper to track level it will affect the mixing decisions/FX already made. The advantage of being inside the DAW and working with floats is they will not digitally clip, so definitely try the master output first and then work backwards if needed.

This is probably the preferred method to use anytime an FX isn't included in the instrument itself. Melda Production has a number of FX in their free MFreeFXBundle (with both a vibrato and tremolo). Depending on your application, another thing to consider with track FX are ones that are able to sync to the DAW tempo so they will musically fit the piece.

Check out this thread in the Computer forum, it has a pretty comprehensive list of system checks to consider. The other thing to check specifically for your situation is that the sample rate/bit depth in the universal control match the project settings. If using that interface with multiple applications (i.e., it is a default output in Windows Sound Settings - see below, as this is something you really do not want if feasible), the first app that uses it will lock the sample rate/bit depth. I got my first experience with Universal Control last fall, and unlike most every other ASIO driver, it will connect to multiple apps at different sample rate/bit depths. On my system that inserted a noticeable latency hit, but otherwise functioned fine. However, it didn't tell me (actively) that it was doing it, and it might do more than just insert latency on other machines. A one-time thing I do with interfaces is go into Windows Sound Settings and explicitly tell Windows to use the RealTek chip as the default audio device (with the interface connected/visible). You also want both "exclusive control" boxes in Windows Sound Settings unchecked for devices so that Windows isn't running the show with how things are being used.