mettelus

I highly suspect that you have sleep settings enabled on your computer. Windows is wonky about sleep settings enabled in any way (do not trust them). If you type "Power and Sleep Settings" into Windows search, having the screen go off is fine (to a setting of your choosing), but the sleep setting should be set to "Never." You can dig deeper into those settings, but never sleeping might solve your issue.

This makes me wonder if you disconnected/reconnected things and if one might not be seated properly. Not sure how much you did with this, but it is something to check. Windows doesn't give a lot of control over assignments like it used to, but you can still remove things in the Device Manager and (without uninstalling drivers) Windows will reassign things on the next cold boot to remove conflicts. Device Manager might also show conflicts for you as well. Sometimes Windows will figure things out on its own after a few cold boots, but I wouldn't rely on that one.

^^^^ Before this gets lost in all on the other hub bub, step back and take a look at what Lord Tim said here and focus on this. I am 2 tracks in reading this thread and the individual tracks are not the issue for me either, it is how they are mixed. When things are introduced, they are often 3-6dB, then backed off if they repeat. The vocals are too hidden. On the third track, the drums/rhythm guitar dominate (giving the pumping effect with the FX settings used). A suggestion would be to take the original tracks (make a new project by doing Save As to another folder), remove FX chains and focus first on balancing tracks and using automation to bring them into focus, then settle in the background. I did not hear a lot of frequency conflicts, but tailoring each track to only pass forward the necessary frequency content is good practice as well. On an individual track it won't cause issues, but when combining tracks you will hear it (why synths are something to be mindful of, since they can and often do cover the entire spectrum unless reined in). Moving instruments to the sides will also help with these conflicts (many things are too centered, and that is often best reserved for things in focus). Motion on the sound stage is a dynamic that is often overlooked (pans, fades, etc.), which is something to think about.

There is no reason why you cannot. It really comes down to preference, system limitations, and how you do backups. You can still pull data faster from multiple sources (even SSDs), but the speed of an SSD would make that minimal (also system dependent). My reason is I keep my C drive small for imaging purposes (the only drive I image), so I have a lot of directory junctions to other drives (even programs, since another SSD is faster than the C on my machine). For most laptops, options are limited for number of drives, so focusing on one isn't a bad thing. Just bear in mind that SSDs typically do not give warning for failure, so be sure to backup data regularly (reading them does not damage them as much as writing to them does).

Helix Native used to be a freebie for owning Floor (or Rack), but when I just checked Line 6's site I got a 404 error clicking that box near the top ("Helix Native for Helix owners"). It is worth asking them about if you do not already have it.

Depending on how detailed you want to get with IR tweaking, there are free ones all over the place. A couple good sets are God's Cab (MESA, there are a few others on that page), and Acoustic IRs (especially if recording off a piezo pickup).

Good point! I have only seen lasers used in precision manufacturing for electronics, so never really thought of that. The StewMac video I saw was sort of depressing to see since the gaps between the inlays and the fretboard were big enough that Dale actually used a fretboard shaving to fill one of them. The mica powder is recommended to use 5g per gallon or so of epoxy, and even the starter kit I got is 240g (24 colors). Pretty much any flat surface is easily doable since it self levels... not sure if a fretboard would be as easy, but the epoxy will overfill without running onto a dry surface, so can sand that down. So many videos of tables and countertops being done. I have an antique butcher block that saw a lot of use (nice big 1" deep cleaver crater on one side), plus the previous owner got stains on it. I always wanted to redo that so now thinking epoxy will not only fill it but make the top perfectly level (and is good for cutting surfaces too). This will be interesting to play with once the epoxy gets here.

You'll appreciate this. The very first crude search I did (forget the exact terms used now) returned two different Alembics with custom inlays on them. That search quest left me baffled in a way, because there are videos from StewMac showing how to epoxy fill the GAPS around an inlay, but not doing the inlay with epoxy. Both the inlay and pockets in that video were done with a CNC machine (can't get more precise than that), yet it still had the edge gaps I do not like. Another big difference with epoxy is adding vibrant color via the mica powder rather than just variations of white. The mica powder and carving tools came already, but the epoxy will take a couple of weeks. I can get test carvings done at least in the mean time at least.

For the past year I have been pondering how best to do a custom inlay. To get a machined fit requires excessive time (and precision), so I pondered permanent vinyl for a bit (easiest), but want the inlay effect. It wasn't until a few days ago that it occured to me that an inlay doesn't need to be hard until it is complete, so started to look at liquid options. Lo and behold, mica powder (either opaque or semi-transparent) is used in a truckload of crafts with clear epoxy (some of which are downright gorgeous), but not many hits out there for guitar inlays. Inlays with gaps around them bother me, so a liquid solution would solve that since only the edge of the wood will matter. I just ordered some opaque mica powder, expoxy and fine carving tools to give this a go but was curious if anyone had seen this done before? I have had a hankering for carving a guitar over the past several years, so this side project may explode in scope.

It is a massive decision point on what to do with the band after the loss of a member (whether to pack it up or continue). You already mentioned AC/DC, but for folks who lived through listening to Back In Black for the first time after Bon Scott's death... we were highly critical yet amazed. A portion of the credit for that album needs to go to Mutt Lange though (the album was done over just 7 weeks in the Bahamas!).

Or could take the model Melda uses where revenue is from new sales rather than soaking loyal customers. It is far easier to get an existing customer to shell out more money than to convince a new customer to buy a product (what started Adobe with their hostage tactics). The internet and electronic delivery has inserted a complacency of software release with bugs without much thought because fixes are easily distributed. Some systems do not have that luxury, most recent example would be an idiot shutting down all flights in the US.

I would try and send them another email. When I had my 8 fiasco last year (and no response), that affected my 9 upgrade. Greg (from support) was the guy who responded about 9 and sent an email with all the codes (only work required was in the eLicenser). He had also sent an eLicenser helper executable link (I downloaded anyway, but didn't use... it pops up a "only use this if instructed to by support"). Greg sent me the two activation codes I needed, and the last part was simply reopening 9, refreshing the activation manager popup and activating it (again). It was night and day for me for support from them. I am assuming that your situation is to rebuild your eLicenser file so it will take the upgrade code (what I think that helper executable is for), so I would try a separate ticket with them and tell them your eLicenser is not showing products you own so you cannot upgrade and need the eLicenser fixed.

I used Macrium Reflect (free version) when I updated my C Drive. What I needed most was to resize the Recovery Partition (defaulted to 500MB and I was using 495MB of it; I upped that to 1GB during the clone). Your primary partition will also need to be resized to use up the remainder of the new drive. This video walks through every step for that (why it is a little long), including partition changes. The clone was pretty much connecting both drives, do your work, then shutdown and swap the original out.

The bundles also go up in cost over time as well, so the cost to on-board keeps going up with new additions. I think the MCompleteBundle is roughly $200 more on sale than when I got it (had 99 plugins at that time). Also bear in mind that a number of multi-band plugins have free counterparts. I made an Excel spreadsheet years ago on that and didn't count the single-band ones since they are essentially dupes. Depending on personal usage, the instruments are the most expensive and one may or may not get full use from them.

Another thing to check is what plugins you are using. Delay compensation may not be accurate depending on what FX are active. When recording audio tracks into a fairly robust mix, it is often best to globally bypass FX (E hotkey) during tracking and only use FX during the mixing phase. Check and see if the E hotkey (Global FX bypass) helps your situation.

It is worth noting that MConvolutionEZ (part of the MFreeFXBundle) is also a (free) IR loader.

There is always some gimmick out and about, but unfortunately the common limiting denominator is human hearing, which rarely gets discussed.

"Now it seems to me some fine things have been laid upon your table, but you only want the ones you can't get." - Eagles

MS has had "Home Use Programs" for years that were $9.99 based on employees needing to use Office at home. IIRC, that program ended with 2019, but I thought they were forcing 365 on everyone. I didn't realize there was anything after 2019, so these might be a return of the HUP variety.

This is a pretty significant update. Bear in mind that Rebelle got its start being the most realistic watercolor app, so a lot of features in Painter were not there. The new fractal resizing is impressive. I have been working with scans of 8.5x11 drawings done years ago at 300 dpi, so default to resizing them before painting, but when zooming you get the pixelated effect at some point. The fractal resizing interpolates (also with liquify/warp tools) to alleviate that. Painter doesn't have the liquify tool, it is actually in Paintshop Pro, so Rebelle adding that directly to the app is a one-up on Painter (or porting it to Photoshop from Rebelle). Brushes are more detailed and you can add them to favorites (huge deal). I opened work from Rebelle 3 and brush specifics used are long since forgotten (Painter had this issue as well). Overall, they added a lot of things you would need to bounce into Photoshop for. This video is from a guy who doesn't really use Rebelle but reviews it. His presentation is better and more critical of the new changes. He mentioned that people who got Rebelle 5 after Nov 1 get 6 for free, so made me wonder when the deal in the OP expired (I assume it was before Nov 1).

I just realized why they did this. Rebelle 6 is out on the street now. Some of the new processing features are impressive, especially the nanopixel tools. Watching that video now. https://www.escapemotions.com/products/rebelle/about

This is a big reason for this feature. Something as simple as "[plugin] expected at [this path] failed to load for [reason]" would allow for quicker troubleshooting (both solo and on the forums).

OMG, you should have taken a plane there instead of walking to Vegas!

Not sure, but it has been included in the Samplitude Suite. If you bought that during the Gibson debacle, you would own SpectraLayers Pro 4.

Thank you for posting this. I did a quick test of this (RX 9 Advanced versus SpectraLayers Pro 9), and the unmix stem results were comparable on the same song using default presets. Both of them took roughly 90 seconds to unmix stems from a song 7:30 in length. From that perspective, RX Standard would match that feature. SpectraLayers (Pro) will also drill down two more levels of unmixing, but it is very dependent on the reverb usage in the master to get a pristine (or even suitable) track. If mixing back into the same master, it is pretty transparent since the material missing that caused the phasing is in another stem. In many cases it can also be mixed into another composition. SpectraLayers Pro 9 also includes features of RX Advanced (Ambient matching and some of the more precision tools), so it really comes down to what you want to use it for (and if you already own RX Standard/Advanced). The display resolution in Pro 9 (and responsiveness of the GUI) is better IMO, and they are obviously monitoring each other's products (navigation is identical in many regards between them). As with all things, they each have a trial version to test out (highly recommended), and the comparison charts for RX and SpectraLayers are available. This is primarily how I use it; either for practice, covers, or to redo a friend's work from 20+ years ago that only existed as an analog master. Drums can be redone with drum replacer (or similar) if not used outright, other tracks can be re-performed and matched as necessary. Depending on frequency content of a song, content belonging to one stem may end up in another, so a little surgery may be required for a jam track. This is often best done by bringing the stems into a DAW and moving that content to an additional track (also alleviates phasing issues from reverb in many cases), then muting the track(s) you want to remove.