mettelus

I have RX 9 Advanced, but really cannot speak to a comparison because I rarely use it. Over the past few versions SpectraLayers has added repair features seemingly identical to RX, but I use SpectraLayers to unmix stems more than anything (then tear into them). RX to me is more of a repair tool and I am not sure if it can unmix stems? Hopefully someone who uses RX regularly can speak to this better (I cannot).

This has also been included in the Samplitude Suite, but not sure prices (something to check as well). v4 was included in the Samplitude Suite at the time of the Gibson debacle, and when I got v7 it was the same price to upgrade SpectraLayers individually as to upgrade the Samplitude Suite to get it (plus Convology XT). If buying only SpectraLayers for the first-time, I am not sure if it will get better than the $179 (but check the crossgrade too!). As with a lot of these packages, the on-ramp is fairly brutal (then they bleed you slowly over the years to keep it updated).

I updated SpectraLayers to Pro 9 last night and the GUI response is significantly better, but Unmix stems takes twice as long. One thing I did not realize until last night is that even the Elements version has the noise-removal feature most are looking for in posts here. Adobe Audition and iZotope RX also have this as well, but they both cost more to get this level of surgical accuracy.

A pretty good litmus for this is starting with keeping things that are 64-bit VST3 and then cherry picking the rest. More and more apps that will use plugins are starting to lean toward VST3 only. I have been looking more at things that take up MASSIVE amounts of drive space that I rarely touch. Even though they were deals, 500+ GB of "stuff" will come to a reckoning at some point.

Quick insight to add to the above. Firstly, doubling power (duplicate tracks feeding same bus), will add 3 dB, and this occurs on every doubling. If you double tracks 6 times (64 tracks), that is an 18 dB increase. Granted, not all tracks will have sound at the same time, so lowering them all to -18dB (or even -21dB) should give you enough headroom to begin. If they are hot by themselves, you may need even lower. Bear in mind, in the digital realm signal-to-noise ratio is everything. With noise level low enough, mixing at lower levels will not affect anything adversely (you can use the master fader to achieve monitoring volume). Be cautious of making single tracks too hot as they feed into the rest. Similarly, you can do the same with busses, each doubling is +3dB. 2, 4, 8, 16, 32, 64, etc. (tracks or busses, depending on approach) will add 3, 6, 9, 12, 15, 18, etc. dB respectively. You can also take the approach of each buss hitting -9dB to keep their combination in check (work tracks into busses with that being the target). In a situation where tracks are hot, but you want ones to stand out either 1) lower volume on others or 2) mirror EQ unnecessary content out of the other tracks. Another trick to achieving volume control is that once content repeats so the listener "gets it," it can often be safely lowered -6dB so that new content gets focus. The listener still recognizes it because they have heard it already. Mixing is challenging, but also fun and rewarding. Best of luck!

Ctrl-S helps with a lot of programs, bugs or not. Specifically for software with "undo history," it is prudent to set that to a realistic number (I use 10 on most things). Most are set to a massive number that just consumes RAM. IIRC, CbB defaulted to 100, but forget now.

The Step Sequencer has such a function, but might not be suitable for this application (will add variations to looping material). If the end result will be a printed master, randomization loses utility at a certain point and may become difficult to replicate, but not nearly as bad a oscillators out of sync on some synths.

LOL, I couldn't for the life of me remember the name of it and took a while for me to look it up. I got all the hand-me-downs from my older brother and sister, but I really liked the fact that turntable had 4 speeds to it (not sure I have ever seen a 16 1/2 rpm record in my life, but playing records on the wrong speed was fun as a kid).

The one I am using atm is the MK710 set. It already has 3+ years under its belt and still fully functional. Historically I am abusive to keyboards, so the spring under the larger keys (like the left ctrl) give out over time or I tear the contact mat between the keys and the circuit board. The mouse is the factor I like most with them for the heavy wheel and extra buttons. I don't recall ever having one of those mice fail (the mouse is the M705).

Ouch, I didn't catch what you were trying to do before you did it... I tried their unifying software years ago and it was an utter fail (not sure if it has been improved). The keyboards and mice are chipped similar to a garage door opener, key fobs, etc., so the signal is specific to the dongle (what the Unifying software is supposed to solve). It was when I was on Win7 that I tried their unifying software, but that messed up Windows drivers on me completely. The keyboard has a bunch of buttons I never use (why I never load their software), but the metal wheel in the mouse is a feature I use a lot, especially scrolling though massive documents. In all honesty, I consider the sets consumables and end up replacing them every 4 years or so (as a set).

I only ever got Wavestation for this same reason. Navigation on hardware with limited controls is not fun as it is, but to replicate that in a GUI just comes across as lazy to me. I didn't get it to relive the frustration of paging through menus with buttons but for the the sounds. Maybe I have become jaded from the hardware manufacturers whose supporting software makes them significantly easier to tweak than from the hardware alone.

Not all instruments have all variations sampled; the Hellrazer is bridge only as well. Read the info on instruments to be sure, but they are fairly easy to tweak.

If you can find an old vintage Show'N Tell, that has the filmstrip display too!

Their software is not required if you use Win7 or better. The ONLY thing that does is allows customization of the keyboard/mouse at the expense of always running. All of the special keys/buttons are exposed to running applications via Windows automatically, so you can assign them in the apps themselves. Their software has been flaky for a while for me. I have not used it for a few years now.

Oddly enough, as I walked passed my dad's old 1940s Harmony Monterey a couple weeks ago I wondered how much it would take to make it playable. I went overboard reinforcing the body 10 years ago, but just put electric 10s on it and hung it for show. The bridge and nut were way high, and I adjusted them both too keep parts original. Still a slight bow in the neck, but the frets were high enough to get electric-like playability to the 15th fret :). 10-year-old electric strings and it is loud with wild sustain (15 seconds on a gentle strum). How I reinforced it would make a luthier cringe, but I never expected something with f-holes to be that loud. Been putting more time into playing that lately... it hasn't been played much in 40 years, so needs some love. No amp required.

LOL @azslow3, I saw the OP and was thinking I had written about this a while ago (8 years! ugh). Be careful with the routing you use for loopbacks and know how your interface works so that you do not inadvertently create a positive feedback loop! For some cases, you need to mute the armed track... just be careful with using it and know your interface.

AFAIK, the Separations folder has always been used, and you can set where that is in preferences (in Melodyne) if you want to keep it off your C drive. That folder tends to get massive on its own over time. What is saved in the (CWP) project file will recreate where you were with Melodyne (even if you delete the contents of the Separations folder). I tested that years ago (with Melodyne 3 Editor) and it worked flawlessly (just takes a little longer for projects with active Melodyne edits to load). Over time I got into the habit of not leaving Melodyne edits active when saving projects (they do make the CWP files larger), so the Separations folder becomes wasted space on the computer.

Tendon and ligament damage can take months to heal on their own. Stretching exercises are good prior to any repetitive work (sessions), but relaxing is also needed to heal (and keep warm to promote blood flow). A doctor could give you much better feedback. In my experience, they aren't as concerned if a tendon/ligament isn't severed and pretty much advise healing naturally (I had one that took 6 months). A doctor should be able to recommend surgery or not (for certain injuries that is suggested).

Couple quick questions first... are the vocals on your soundcloud yours? If so, the vocals on the "Ghosts" track left me scratching my head wondering what you are trying to do with Melodyne? (basically, your "vocals need a lot of help" comment confused me). Do you use comping on vocal takes? I would start there, so you can select the best phrases for a final take. I would recommend being light-handed with Melodyne for any touch ups desired. I tend to agree that a second totally separate track can often yield the best results (for doubling), but there are several methods to double vocals (even from one track with things such as iZotope Vocal Doubler (free)), or even embellesh a single track without doubling (i.e., a simple post production FX chain). It is fitting things into the mix where the rubber meets the road, so do not be overly critical of solo'd (dry) tracks not sounding perfect on their own.

Another perspective to consider, which has been alluded to above, is this: if a plugin has been scripted properly, any DAW supporting that format should be able to use it (where they tested it is sort of moot). I can recall countless times that Noel has gotten involved with plugin issues. He will also reach out to developers directly to resolve them. That "feature" of CbB (the bakers and their participation here) is highly underrated.

LOL, yeah, I was just getting ready to mention MXXX in response to Bit's message about Ozone being 21 plugins. Ozone Advanced is sort of a cheat since they can be separated. MXXX is the bigger cheat, since it is a shell and will embed synths if you own them. Ozone would be my vote as well if someone was going to focus on just one plugin (for purchase), with Melodyne a close second. Both were already mentioned above.

MXXX is an odd one, since it is really more of a bundle but doesn't count as one. MXXX Core is the shell, so you can use the functionality piecemeal with the plugins you own. The actual bundles have "dupes" because of this (that and all MB versions are dupes of their single band counterpart). That being said, as much as the concept of MXXX excited me, in practical use it requires a lot more thought to use. I haven't used it as much as I thought I would since a DAW FX chain using the same plugs is simpler and easier to decipher months later.

"Keyboards" have evolved so much over time, so I see it more as an tactile input vehicle. I personally have associated "keyboard" with "synth," but the sound you get out of a MIDI input these days does not need to be a synth at all. For the OP, what are you considering a "keyboard?" I also tend to associate keyboards with electronics, so a piano is always a piano for me. I came across an interesting Russian pianist (Gamazda), and she has covers of just about everything and is apparently supported very well from online performances/chatting via patreon. I noticed that she seems to play a different piano for every video too (sort of odd), so I am wondering where they all come from, but then again, her $100/month patreons are sold out, so pianos might be consumables to her.

I was going to ask how good the phantom power is on these since it is buss-powered (initial concern). The reviews don't mention this specifically (hint that it is okay), but a couple noted that the minimum gain on the inputs will still clip an old passive guitar... is that true? I didn't readily see anything about mic/inst (other than the front panel), and used to run my passives as a LINE input to my Saffire, but not sure if that is an option? Another review said it can only drive cans that are 60 ohms max (mine are 32 ohm, so not as critical).

Have you submitted a ticket so the bakers know about this?