mettelus

Quick note, get in the habit of saving both project templates and (more importantly IMO) track templates when you put that much work into routing things that you may ever use in another project. Track templates are more ideal, because you can save multiple tracks that are project independent... so you can simply add a track "from template" and Cakewalk will insert all of the tracks, routings and busses that you saved. It will save you a lot of time going forward. Always, always save intricate routings as a track template.

Are you getting any motherboard errors from powering the machine on? That is about the only internal diagnostic that will let you know if components have failed (as the MB "sees" things). The reason I ask this is because when something loses power it is typically not destructive (sudden voltage drop is not, and the source is designed to take the arc), but if there is a spike involved prior to that power loss, it can be destructive. "Selective tripping" is the term often used to define this, basically the arc from power surges needs to be controlled at the device closest to the power source that can take it. In a situation where the power source is what caused it, that protection may have been bypassed with the failure, so everything that was plugged into it at the time is now suspect. Unfortunately the troubleshooting on this either requires diagnostics of everything in question (not simple) or swapping out the suspect parts to see what is good and bad. NVIDIAs driver cycle includes a brief on/off reset to the card to allow the new drivers to install, but if the power supply reacted to that, the card may have failed and transmitted that surge to it as well. Both of those components reacted to the "same thing," which is a big concern. That said, there are companies that have very liberal return policies, so you can troubleshoot via that method and return the things that you prove are good if you take that route. For what you described, both the power supply and graphics card are suspect already. You can also contact those vendors directly about what happened and you might get lucky and get into contact with an engineer who knows the design and protective features cold (and can give you a proper answer, and where to focus attention).

[Stupid side comment, since this has already been answered with the sampler option] People don't get how easy they have it these days. In 1984 the Emulator II was ~$8K, with not one but TWO 5.25" floppy drives! The sampler made famous by Ferris Bueller's Day Off.

IIRC, those only needed the serial/registration codes to activate (not internet), and that pop up window occurred during the actual installation. There were a couple that had to be run as administrator during install to register properly in Windows, but I forget the details of them all now (pretty sure that was only Dimension Pro and/or Rapture). If that doesn't have a "register" option when you use it inside SONAR, try re-installing it with the file you downloaded from your account. There "should" be a window during that installation asking you for the serial/registration codes, that will then add CA-2A to your Windows registry to unlock it.

No worries, it was really more to point out the importance of the music theory behind what the harmonies are "doing" and often the "why" is more important. I had someone asking me about harmonies who was fascinated by them but knew no music theory, so rather than try to explain with words (I actually took a shot at this, but was excruciating), I sent her a video dissecting "Seven Bridges Road," which is a good example and did that with Melodyne to visually show what I was talking about. The chord progression is DMaj, CMaj, GMaj, but if you sung it solo, the most prominent notes are D, C, B.... but all of the notes sung by all of the singers fit perfectly on the DMaj, CMaj, and GMaj chords. My point was really to be deliberate about harmonies, so that they match the song. A side note I thought of after the first post was that old guitar pedals had "harmonizers" that just blindly followed the note played (no song key capability), so they sounded cool solo, but didn't work in a song unless you only played notes that had harmonies that also hit the song key (or if you got lucky).

Be careful with using automatic harmonies because your real intent is to make a melody better fit the active chord in the chord progression. With common things like a B note sung over a GMaj chord (G,B,D), you do not want to blindly use 3rd, 4th, 5th, etc. (on that B note), because the note (even if the harmonizer locks to a GMaj song key) can easily fall outside of the underlying chord intent. In the case of a sung B over a GMaj chord, the D (or 3rd if locked to song key) is often the better choice, but only for that particular combination, not blindly all the way through. You've already found out that the interval being static doesn't quite work through an entire piece. Sometimes it is simpler to use an instrument track (pad or strings) to noodle out harmonies like a parallel melody, and be deliberate about it. Then you are doing something very intentional to make the result fit than try to figure out "automation" of something you are not sure what it is really doing. It also forces you into the "parallel melody" mindset... what should that second person actually be singing?

I am pretty sure this is a yes. The ALT key is what is invoking the cursor change (based on mouse position), the app has no idea if you are intending to left or right click at that point.

Whew... good thing they didn't choose "Water" after all!! They would have had a stranglehold on one of the most important markets on the planet (according to Gene anyway). Since their logo has different fonts used in it, I am not quite so sure of that comment though. https://www.kissusa.com/pages/about That company was founded in 1989. I cannot find any references of Gene to that company in a quick search. Again, the "K" in that logo is a custom font, so even their trucks have the registered trademark next to KISS (scroll down to the video insert at the bottom).

I tend to only associate them anymore for the references/usage in the movie "Role Models." They got used as an underlying theme many times in that movie, and since it was a comedy, they fit in rather well.

Many VSTis also have MIDI-through (or even MIDI-outs that pass things like arpeggios) capability so a virtual instrument can also pass MIDI as an output. This can lead to very complex routing schemes (and also potential confusion of what is going where with older projects). As you work with more complex routings, it will also be helpful to take notes on specifics because of this so that you can minimize the time it takes to get re-acquainted with older projects later on. There are also plugins that can assist with layering instruments to make things visually simpler, but a lot of the routing starts with the use of MIDI channels to keep MIDI information "in its own lane," so to speak. When you have an input set to "Omni" (the default) is what will often trip up new folks because that instrument will then play all MIDI it is receiving, and it is not always clear as to where the data is coming from.

When it goes on sale, yes. I last upgraded Samplitude Pro Suite on v5 because it was the same price as the SL Pro upgrade at that time and had all of the extra goodies. Unfortunately, in my case, the only thing that has changed between v5 and v8 is the version of Samplitude (although the GUI got a massive overhaul), newer version of SF Pro (and never the current one) and SL Pro... IIRC all of the other content is identical, and I do not use Samplitude. Again, this is different for each person on a case-by-case basis, but the Samplitude Pro Suite (when on sale) is often the cheapest alternative to onboarding into SpectraLayers Pro (current version).

Yes, Resolve is on v18 now. The free version does not allow for the use of hardware acceleration (only Studio will), but both support H.265. It is also worth noting to new users that the Studio version is a one-time $300 upgrade, rather than an upgrade each version. However, it is highly recommended that you know the free version well and will actually use the Studio features before ever considering that upgrade. The Studio version has all of the bells and whistles which go far beyond what a normal user would ever use, but is also a significant bang-for-the-buck deal over the Adobe Premiere Pro/Mocha combo ($300 once for DaVinci Resolve Studio versus roughly $600/year for Adobe Premiere Pro/Mocha).

+1, there are a lot of basic editors that have the DAW-like workflow to them. Even the Corel HumbleBundle is still alive (all current versions), which includes PaintShop Pro and AfterShot Pro that you may find useful for the picture work you want to do. All of the brushes in that bundle are for Particle Shop (plugin for PSP) or Painter (which is included for the top tier). Basically any editor with multiple tracks available will do what you are asking (which most have these days). If you do buy that one, spend the extra $0.51 to get Painter, since that is the most expensive software in that bundle. While DaVinci Resolve (free) will do just about anything, I am always hesitant to recommend that to anyone new. You will spend a lot of time just learning the GUI, but if you invest that time, it is an incredibly capable program. It even asks you on install what workspace layout you prefer, and "like Adobe Premiere Pro" is one of the options. For someone new that can be overwhelming.

I didn't even realize these existed, but saw a news article today that made me look this first one up. One reporter said they often get 30 or 60 second commercial snippets during the holidays, but tend to get more views from people digging for the full shorts. Apparently Chevy teamed up with the Alzheimer's Association this year, and it is rather impressive... even more so since they don't make anything deliberate regarding the vehicle, more the nostalgic triggers from it. Very, very well done. After I found that one, there were references to another from 2021 that I had never seen either (sheesh). I am not sure where they were running the snippets, but I actually had to go digging to find this one. I recognized the car right away because my dad used to drive us kids around in one 40 years ago (had to find the video by looking for the car!). Never underestimate the power of nostalgia and its effect on people. There have been other videos posted over the years on the triggers that help with memory (music being a huge one), but I found that first video to be on the mark as a "commercial" for the holidays.

Correct. The "One" version is the free version and has limited capabilities and no layer separation at all. The MAGIX Suite offers can certainly be the cheaper upgrade to SpectraLayers Pro (especially if you do not own any of the other goodies in that Suite). YMMV, but if you are not upgrading from the very last version (SL Pro 9), the other offers from MAGIX are worth looking at, especially if you are an outright "first-time buyer"... it will probably be the cheapest path.

Pretty much. Once a key is selected you can select/deselect notes from the entire scale (with a mouse), but once the transport is in motion that is not an option, and changing the key itself is a no go at that point. While you could sort of get around this with chopping a song into sections and/or creating a custom controller linkage to it, it would still be incredibly clunky. There is a lot of functionality embedded in many DAWs that would allow more refinement that Scaler EQ cannot take advantage of (yet), so the advantage of it is not significant over other methods already available.

That is just amazingly small... nothing but respect for you! I have far less patience when working on tiny things, so have to take a break a come back often. I was doing auto work this summer and got into a couple situations where the access to things was an inch or less and just kept thinking "Seriously? You designed a clearance that only a toddler can access??"

There is a utility in this thread from the old forums called "Projectscope" that would be worth testing on your cwp files. I would verify your theory that all audio you are using is nested (in the Project/Audio subfolder). It is very possible that some of the referenced audio is not nested, so when you renamed that folder the pointers broke. If those pointers are truly absolute and not relative, then renaming the folder could break them (I have not seen this before), but @azslow3 would be a better person to answer this as he knows the cwp file structure better.

I forgot to follow up on this. PB came back saying that they weren't sure of dynamic keyswitches and referred me to their forum. This thread has basically what I had asked about: "As for scale switching, we are looking at solutions for this as a priority. We have conceived ‘link’ buttons you can assign keys and scales to and automate between but receiving midi input is also on the cards but may require further work." In addition to my request (to better follow chord progressions or melody lines), this one specifically asked about key changes, which is even more critical. Right now, Scaler EQ cannot address either dynamically on its own.

Unfortunately, once you publish something it enters the public domain, so rights diminish dramatically. If anyone can open something up to look at it, there is little control on what they are actually doing with it. Even just being in public means you can be photographed (paparazzi make a living off this), so the only real legal threshold that can be crossed is when it enters into the realm of "stalking." A lot of what you mention has actually been around for years, well before "AI" entered the picture, AI just made it easier to assemble and correlate data into information. One of the most surveilled locations on Earth went so far as to improve facial recognition to identify people "even wearing masks" during the pandemic. There are complex algorithms already in place that go far beyond just what someone looks like, and much of it centers on what people willing publish to social media. In the digital world, anything and everything published is permanent record and will survive long after we are all dead.

+1, why discipline in the Deals forum helps (good luck with that). Eventually there will come a time when you realize how few FX are really required to produce, then realize you have multiple FX that do the same things. Once focus shifts to production, you will gravitate to certain ones that you will learn in and out, then begin only looking for things to fill gaps you have.

A simple statistic is that roughly 7% of the world population is born/dies in 5 years, so the number of new users that onboarded with CbB has some "number" associated with it. I have worked with a few folks who fall into this exact category, so have advised them on how to safeguard their work going forward. I even went so far as to refer one to the original post I had made regarding this a few months ago and they came back with "I found some of those replies arrogant." I found the use of the word "arrogant" truly stunning from a new user, and even though I defended one of the people in question, that was a one-off situation out of courtesy and will not happen again. I have simply advised people not to get excited for now, safeguard your work, wait for what really happens, then adjust accordingly. Many people are also not jacked into the internet (i.e., pandemic onboardees), so there is another subset that won't even know about this until they think to re-open a project in a couple years. I hope when they do that they are not met with an unpleasant surprise.

+1, in other words, the "Save As..." trick only works for the cwp that is currently open... if the project folder has numerous cwp files in it, each cwp file would need a "Save As..." cycle done to preserve the audio required by all of them.

Quick follow up... that nut is actually in a slot (glued on 3 edges) versus mine which can just be knocked off the end of the fret board. This guy does a quick walk through of knocking that out in the first 40 seconds, but be SURE to score the edges of where the glue and nut meet first (he does mention this after he knocks it out!). Superglue sheers very easily, and will default to the weakest point (why scoring the glue is important). You may get lucky with a replacement nut like he did, but check that slot to see if the lower edge is square or curved (why the replacement nut he got has a tab on the bottom middle, for a square groove). You might want to verify that groove before ordering a new one. Verifying the nut height is a series of checking the nut (unglued) versus the two E strings under tension to the first fret until it is verified, then glue it in (not sure why he glued it in before checking height... the height at the first fret is most critical here). Tusq nuts are also good alternatives for replacement as they are graphite and self-lubricating.

Hey @Grem, The final action setup requires several iterations of loosening/tightening the strings (to get access to the nut/frets), so be gentle with cycling them on the tuners. Mine came with cheap 9s and the high E finally gave out just as I was finishing things up, then I put a real set of 10s on it to finish the job. Start with the neck perfectly straight (no relief for the first setup parts), this will allow you to adjust the nut, then bridge, and also allow you to see if any touchup fret dressing is required as you go. With the neck straight (before you strung it), if that nut is slotted improperly, too low, or the wrong radius, you will need to replace it. Mine was plastic and too high but slotted properly, so I actually kept it and adjusted the height on it. A pre-slotted bone replacement nut would be the ideal choice to fix that if you have no confidence in the nut on it now (be sure the radius matches the board). You will still need to adjust height on a new nut (and I would also check the distance from the first fret the the nut edge when out just to make sure). You want the height of each string at the bridge to be "close" to final before replacing the nut and setting height. I put a quick write up how to file down the new nut in my other thread (is actually shaving off the bottom edge of the nut), but can walk you through this in a Zoom call as well if you want (is actually easier than typing). Any removal of superglue from the old nut, be sure to put protective tape on the side you are not addressing (either the head stock, or fret board end) so that you just make it smooth without gouging the other while working. Once the nut issue is addressed, that gives you the proper "pivot point" for all of the strings at the nut to address the bridge. I am not sure what is specifically wrong with yours(?), but mine was pot metal, and I only needed to adjust it a few times before the stress started showing (plus I wanted rollers versus knife edges on the bridge). As long as you can adjust each string for height and intonation (and the springs are good), yours may be usable but is definitely your call. During this phase you want to do height/intonation, then play the board to find fret buzzes (every note on every string). I ended up doing a final fret dress during this phase (very gently with a block and 600 grit sandpaper), unstrung (well, no tension), and with the neck still perfectly straight unstrung. That will never be quite perfect, but you want as little as possible fret buzz and are particularly keen on if a fret above where you are playing actually frets above where your finger is. Final tension can test with roughly 1/4 turn relief on the truss rod for 10s (or about 1/2 turn for 9s)... from there you should have zero buzz at all and can make final height/intonation corrections. In my case this is where my high E said, "I am not playing your game anymore," and quit, so I put a set of 10s on it. Before addressing the bridge, definitely resolve the nut issue first (and this will also let you properly assess the bridge). Again, if that nut is slotted improperly, too low, or the wrong radius, I would start with ordering a replacement bone nut and can walk you through that step when you get it if you want. Even with mine, the nut was way wrong (but usable), and my bridge was pot metal, so I find neither of those issues with yours surprising.