mettelus

AFAIK, the pointer is relative to where the audio is located in relation to the cwp file location, so if the audio is in the project folder itself (nested), renaming that project folder will not affect them. However, if you rename any part of the audio folder's location if it is not nested under the cwp file (i.e., the audio is actually on another drive), that pointer is no longer valid since the path no longer exists when you rename any portion of the audio path. Two ways to rectify this: (Highly preferred) Do a "Save As..." of a project you want to move (or rename) and copy audio files with the project. This is also a nice cleanup technique since only audio in use by that cwp will be copied to the the new Project/Audio folder. There was a default search engine when opening projects missing audio to "locate the missing files" but I forget it it can be launched manually. That will re-assign the pointers, but again, if you rename that audio path, you can easily break them again.

Looking REAL good! How many coats of Tru Oil did you end up using? I am eager to see the end result! I remember when you were worrying about all of the hurdles with a kit build, but you got passed that! ?It is amazing how much more valuable/precious things are when you put work into them. Yeah, I have to remind myself of that reality fairly often. We are always our own worst critics, usually because we know all of the details no one else would even notice half the time.

Thank you! The issue is rather slight, but it was a lesson learned. Another reason epoxy is a bad choice is that the carbon from the laser work chemically reacts with it (dramatically accelerating cure time and creating bubbles as it does)... unfortunately the only way to pop those bubbles are to apply heat (not good for this situation), or spray (isopropyl) alcohol on it (which I didn't even think to prepare). There are very minute pits on the left edge of the image from this (the bright dots in the picture), which even new epoxy won't stick to. After realizing that was going to be baked into the product, I just went ahead and refinished the wood face. You have to either nose in or catch the reflection to notice the pits, but they are there nonetheless.

Also, depending how deep you are into a project (or if you just want to noodle around tempos to find what you like best), doing a mix down of the project to a single audio track will let you play with that track willy nilly using Mark's Method 1 to determine what you like best for your final product. You can just delete/mute that track later on but gives you a playgound to test out tempo variations without affecting the project at all until you decide on the result you want.

This is really a followup to the last post on this thread, but that is in the Deals section and I don't want to bump that up since it isn't an applicable deal. I took what @Max Arwood said to heart after my last post in this thread, so researched laser engravers and saw a few that were suitable, then blew them off for the time being. Ironically, during the first Amazon Prime Day in July I got some screwy pop-up with 3 hours left in the sale (that some of those engravers went on sale) so I grabbed an xTool D1 Pro 10W (was less than $400 then, so I grabbed the middle model). I was restoring two vehicles this summer so left it set on a table I walked by every day, but still blew it off. The return on that long since expired when I opened it (glad it was actually a new one when I did!), then set about the task at hand... finishing that head stock on that guitar... First, things that I like and don't about the laser engraver itself: Repeatable precision is perfect (for multiple passes), but the initial alignment sucks (so I backed off the idea of redoing anything once removed until I noodle that one out). The repeatable precision I could leverage, but the alignment required some trickery and doing things "by eye" in a few cases. Is Wi-Fi capable, so can leave it in another room. Absolute HATE.... NO MANUAL (of any use) for it! WTF?? Fortunately I have worked with a lot of lasers, so I just went to town dry running my thoughts and leveraged ideas with what the machine can actually do. Even videos for the machine were often by people who came across as unknowledgeable. The power, speed, and resolution are independent for each object. With repeatable precision, this was totally usable, but after I watched numerous people burn the crap out of things, I realized few know how to generate any art. Control of those settings with repeatability will allow for very detailed pictures (greyscale) to be done. The engraver itself accepts png files, and works with layers, so can add a guide object of the piece to work too (I was dealing with both the edge of the head stock as well as making the picture miss the tuner washers). Lessons learned for this specifically: The epoxy idea itself was a fail, since epoxy is translucent and the depths are so shallow (thinner than a layer of paint in some cases). Paint is by far a better choice (although I did not go this route), because it is opaque and you can put a protective layer on the surface of the entire piece, overfill the engraving, then sand it back smooth. I was meticulous on doing both the logo and picture to work to the actual head stock, then looked up head stock veneer (perfectly square!) and can get 5 for $10. I laughed when I saw those... in hind sight that would have made the job far easier (and less stressful!). I never liked the grain on the head stock anyway, but did a little more trickery to get around that as I worked. Regardless, I worked to the actual head stock and this is the final result. Even though I "could" redo this to perfection with a veneer blank in the future, I tend to appreciate the flaws in things that make them truly unique. I think @DeeringAmps mentioned the high top/low bottom strings late last year. I had bought a 10-pack back then, so this job also let me put a 1/4 turn relief on the truss rod and install a set (rather nice bottom end to them, I must say!). Also, @Grem... we need an update on your guitar project!

That would be a question to ask Melda directly, since anything posted here would just be speculation. I would think it is highly doubtful, and that coupon seems intended to be more like a "second referral code" for people who have already redeemed one.

In reality, the MB feature is the difference between the paid for and free versions (where there are two). They use the same coding with the exception of the MB additions, so you could remove the non-MB versions, but they do not take up a lot of space on the machine. I rarely reach for the MB version first, because the crossover bands can get tricky and become audible (ironically, more audible as you shift to playback devices with less capabilities).

A motherboard with 2 NVMe M.2 slots is ideal. As mentioned above, images of the OS drive are important, and that drive is also the default for all of the temp files written/read by most applications unless you change them, so is also the drive most likely to fail first (hence the images). When bringing a new machine online is when to think about data management as well. I use directory junctions a lot (even for the bulk of apps) to keep my OS drive small for images, so I have 500GB for the OS (less than half full) and 2TB for the other NVMe. The non-OS drives are just robocopied onto an external drive for backup (quicker and more efficient than imaging), but keeping that OS drive small makes images/recovery significantly faster. A graphics card is not going to be a requirement for running a DAW; but as you said, that can always be added later on anyway. You can always add more drives later on as well. For an initial build you will not notice much (what you are looking at will work fine), but if you start collecting sample libraries (or doing video work), you will find drives fill up rather quickly.

The days have been creeping by lately... I thought that had already expired but it has 5 days left!

Look up "Comping"... you can record multiple takes without the need to undo anything, then choose the best phrases from the take lanes.

I must say, that metallic look is pretty friggin awesome. For those unfamiliar with Rebelle, it is a painting program that started with watercolor realism (still by far the best for watercolors because of this) and expanded into pretty much every other painting medium (thick paints, acrylics, oils, etc.). A typical Pro upgrade (yearly) is roughly $50 for owners of the Pro version, but AFAICT this intro price is for everyone (no need to own anything from them to get it). It is also very likely for most users that there won't be a compelling need to upgrade. Side note: As with all painting/drawing programs, a stylus is highly recommended to get full use from the application. While there are many things you can do with a mouse, others like pen tilt and pressure require a stylus to use. Applications such as this require an input medium (stylus) that the app can interpret as a "brush" to render the realism of painting/drawing.

Pretty much every DAW has a search filter for their browsers. so I gave up on organizing plugins a long time ago. Ultimately, organization is just a waste of time that is easily overwritten with updates, so you just end up in a do loop for no reason.

Most sales are probably going to get re-run through the holidays (if they do not extend that far already). The PreSonus sale is 11/20-12/31 from their web page and all of the vendors are just mimicking them. Amazon has been running some of the hardware cheaper than retail for a while now. I got a chuckle last week from an email warning their (I forgot the company already) "Pre-BF" sale would end in 4 days! I just laughed and thought, "And?? It is going to be back on sale cheaper in 7 if no one buys from you now." Annual sales are locked by calendar year, so 12/31 is commonly the date where sales become unpredictable.

During the second Amazon Prime Day this year I grabbed the Revelator Condenser microphone (the dynamic was not on sale then) to test out the USB mics for myself. I have spent a lot of time miniaturizing electronics in my career, so wanted to look at these for what they are. That microphone impressed me so much that I wanted to also test the Revelator Dynamic when it went on sale. I have been working with someone doing narration work in a non-optimal environment on a budget condenser mic, and although that has been made significantly better, a dynamic microphone would be better suited. Both microphones went back on sale for Black Friday at Amazon ($59.99 for the Condenser, $99.99 for the Dynamic), so I grabbed the Revelator Dynamic so I could make an evaluation of them both during the same sitting. For her situation, there is also a sibilant issue, and the thing that attracted me to these more was the FAT Channel (pre-FX chain) that is included. Some features of these mics specifically that impressed me: They are both 6-in/6-out audio interfaces, although the only hardware input comes from the microphone itself. These serve as available ASIO stereo pairs to applications, so loopback usage is a breeze (the software has a mixer to control each of the three output mixes). It also negates the need to buy an audio interface, so anyone only doing vocals could get by on just the mic. They have dedicated ASIO drivers which were updated last month after I bought the condenser and actually addressed one of the bugs I found. They have dedicated OBS drivers, although I have not used OBS yet. The FAT Channel (pre-FX chain) are the same FX in Studio One, so the signal can be processed prior to being written to disk and minimize post-production work. Each comes with either Studio One Artist (permanent) or a discount on Studio One+ (subscription). At the time I got the condenser, that also came with Ableton Live 11 Lite, but the dynamic I just got did not. They are Dolby Atmos hardware, but only work for binaural mixes via the 1/8" headphone jack. What I found lack-luster, or truly abysmal: They both include a desk stand, and neither is usable. The dynamic needs a stand off of about 2" so you would need to hunch over a desk to use it properly, and the stand for the condenser is a rigid "rock." HORRIBLE decision for any condenser!!! Both are better used on a mic stand with boom, and the condenser version MUST be shock mounted. Both mics are 53mm in diameter, and there is a shock mount with clip on Amazon that is suitable, but due to the buttons on the mic itself, you cannot clip either in the center. The USB cable with the condenser was 1m, the dynamic was 2m (both are too short for my use). Since I run the cable around behind my desk, I just used a 3m USB cable I already had (USB-C to USB-A) and they work without issues. Overall, both microphones are usable (again, the condenser must have a real shock mount), but the condenser has a higher noise floor and 120Hz hum from the transformer. Although the Expander/Gate can deal with this, there is a delicate balance between input gain (in the software) and the gate threshold. The dynamic version is far more forgiving. The design of the Revelator Dynamic is very similar to the Shure SM7B, but the Revelator has the pre-amp inside it, so has a noticeable noise floor (but easily addressed with the expander/gate). I have not gotten to stress test these yet beyond video work, but will do so in the future. I just wanted to mention these quick because they went on sale for the holidays and might be of use to some.

^^That is pretty much it. Also bear in mind that you can rotate a condenser to remove some of the sibilant content if that is an issue. The reason the SM7B has less proximity effect is simply because the screen forces a longer standoff range to the element. It also does not have a transformer internally, so needs to be plugged into a good pre-amp.

That is an odd one. Have you tried clearing out the Picture Cache as well? That will also force recomputing (all) waveforms and is the only other option that comes to mind.

The included EQs should be able to address this easily. Some (like Sonitus Compressor) do not display the frequency spectrum, so SPAN (free) is a useful visual tool in such situations (can drop that anywhere in the FX chain to see what you are doing without affecting performance). For a parametric EQ, you want the Q factor pretty high (so shaped like a spike), reduction level pretty extreme (initially), then sweep frequency around until you find what you want to address (even without SPAN). Once you find it, back off the reduction level to a more reasonable setting (and can even flatten/reduce the Q factor to make the EQ less obvious). Having SPAN inserted in the FX bin after the EQ will let you visually see the adjustments you are making real time (with any plugin actually).

The most probable cause is that you have an effect with a look ahead buffer running, often a mastering plugin like Ozone. If you hit E (Global FX Bypass) does the latency persist when you arm the track?

If you are comfortable with editing the registry, all of the ASIO drivers on your computer are listed under "HKEY_LOCAL_MACHINE\SOFTWARE\ASIO" The left pane looks almost like a folder tree and you will see a RealTek key (looks like a subfolder) listed under the ASIO tree. You can highlight that key, right click, and delete it. Close the Registry Editor when done, reboot, and CbB shouldn't see it anymore.

The RealTek ASIO driver is known to be bad. Try disabling that in Windows Sound Control Panel and see if it takes. There was a post recently that someone said that did not take and they had to drill into their registry to remove it. If you are comfortable with that, you can Google "Removing the RealTek ASIO driver from the Windows Registry." It shouldn't be that convoluted, but seems to be for some. This video "should" be all that is required to remove that RealTek ASIO driver. I would try that first and see if it takes before ever considering playing in the Windows Registry.

Which brand of monitor do you have? Reason I ask is even though some LG monitors do not come with the OnScreen app, that app is generic, so you can install/use it from a different monitor's download page on the LG site. I am not sure if OnScreen will work with other brands though, but that would give you control of windows that are active (i.e., not docked).

First place to start is Google "Scarlett [put gen here] 2i2 drivers" and download the ASIO drivers from Focusrite. If you have 3rd Gen, then "Scarlett 3rd Gen 2i2 drivers." Focusrite has dedicated ASIO drivers which you want to use, especially when you have recording and playback through the same device. Start there (you may need to reboot after), then set your Driver Mode in CbB to ASIO and adjust the other preference screens (if needed) to focus that device. 128 or 256 as an Audio Buffer is a safe place to start; but if your CPU can handle it, you can start lowering that buffer to improve latency.

Quick feedback on this guy. I picked this up and been playing around with it and it is more dependent on the material. After testing with a few songs that were a bit too complex, I backed off and focused on the remastered "Seven Bridges Road." Because the tonal information is very discrete, the power added to those frequencies is not significant until you hit around +6dB, and over +12dB it begins inserting a phasing/reverb effect. For the vocals themselves it wasn't a massive difference (traditional EQ would work), but it did add definition to the bass vocal (that caught me off guard) and was significant in making the guitar crisper. As I was playing with it, I realized dynamic key mapping would be useful to select the notes in the key to follow the chord progression. Although they are exposed, I was not able to find the key switches to toggle them. I sent a quick message to Plugin Boutique to see if this can be done now or if it is actually a feature request. Because this is set to all notes in the key (by default) with no active means to adjust that (that I could find), it is a bit limited in what I would want to use it for. [Side Note: If you open a VST3 in DaVinci Resolve, it shows all the parameters exposed to the host (even if a DAW doesn't show them), which can be helpful to understand which parameters are exposed (even if you cannot make an articulation map for them... yet).]

I find this one very interesting. I use MCharacter a lot, but it is really only suited for monophonic material and lacks some of the processing capabilities of this one, especially the dynamic EQ aspect and working on polyphonic material. Whereas MCharacter can address specific harmonics (more suited to tweak timbre), this appears more focused on the harmonics series of the key (broader application), but for practical purposes they would complement each other nicely. As I think on this a little more, I do not think either can really do what the other does.

I had checked this when the OP first asked. Clip gain is linked to the clip being hovered over (it doesn't even need to be selected), so is currently limited to one clip only. To do what the OP is seeking is definitely a feature request.