mettelus

One perspective... there is a definite advantage to having a locked set of tools. You get proficient with what they can do and adapt to what they cannot. Sometimes gaps require other tools, but DSP has matured enough that many upgrade features are hit or miss either from very specific audiences intended for them, or if those tools will actually get used (sometimes yes, sometimes no). Updates can end up wasting time that could be spent making music.

+1 to the Erhu. One of my personal favs. An older gentleman was playing one in a park in Beijing a few years back and the person I was with suggested asking him to play it. I just shook my head at the time but said as we walked away, "That is one of the rudest things you could ever do to a musician performing."

You don't need to take to the level of transcription to paper, but simply playing something on your preferred instrument. Sheet music came from an era where recordings didn't exist, so not as necessary as having a sound in your head and being able to play it. The more you work through things, the easier it gets. The guy I bought my first guitar from "practiced" by playing to the radio, which was nutty. He had a knack for hearing a solo once then playing it second time through.

That movie was what I thought you were referring to in the OP (it was on TV yesterday (54.1 out of Baltimore)!).

In addition to the above is to test with a wave file in Melodyne stand-alone version. The algorithm chosen can make a big difference and you sometimes need to split blobs. Which version of Melodyne are you using?

Yup, I got 4 of these around 2005 to stick to car oil filters (they were on sale for $10 a piece then). Definitely NOT toys, but they will mess up a CRT at a range of 6-8', so I used to stand behind people and move it around to watch their reaction. The other funny thing would be to stick one to a steel door and ask someone to get it off. The sides are so slippery that most who could do it had to slide it to the edge first so they could tip it and wrap their hand around it. K&J Magnetics also make much smaller ones that are "toy-like" (magnets have many useful applications) but definitely respect the larger ones... they are totally unforgiving of anything between them and their closest target. The other useful application was to put one in a leg from an old pair of jeans and drag it through ashes to pull nails after burning old deck lumber (would get a pound of nails at a time). The jeans made it easy to release the nails by turning it inside out and pulling the magnet off. Same trick works for finding dropped screws, nails, nuts or bolts where you cannot see them (in grass or leaves). I also used one to thread pots back into the holes on the 335 by letting it pull a needle through the hole for me (but in hindsight, definitely put dental floss on the pot's post before removing it and there are no worries that you got the path correct). I actually got those initially to serve as welding magnets to hold sheet metal in place while welding. At that time, they were far cheaper, stronger, and smaller.

Single coils and DAW work can be painful. In the old days of CRT monitors (there is a whole generation now that has no clue what these are), a single coil was troublesome even perpendicular to the screen because they can be so sensitive. Both humbuckers and lower outputs will "help" working straight into the box, but it is hard to replicate an amp 100% anyway. The Epiphone stock humbuckers are fairly tame (may not have any real feedback issues either), but being an acoustic not many look for "piercing tones" anyway. I remembered you were in Australia, and didn't even think to look deeper into the Micro-Mesh site above (doh)... they do have 2 distributors in Australia (seems both are east coast). There is a "Find a Distributor" link on the left on their site. Good to hear you are enjoying the new guitar!

I have an Ibanez archtop I forget the bridge is floating on till I change the strings. Never fails... loosen them up, bridge moves (or just falls off) and I just think I cannot believe I did that yet again. Only guitar I have to adjust intonation on every string change (a bit of a PITA actually). It is rosewood so superglue won't be enough to actually secure it so I have just dealt with it. I am glad this thread popped up, since Micro-Mesh is pretty much the bees knees for polishing work. The backer is gel, so not only do the grains sink into the backing, but they also fold over as you work so they are less aggressive (and why you can polish with them). Turns out that StewMac has one of the better deals (and $15 off this month if you sign up for their newsletter). It is about $5 a sheet elsewhere, and two 9-packs is a better deal than the 18-pack (and get another block to boot). StewMac says they ship internationally, but I am no sure how much that is (i.e., how much that would affect you, domestically shipping is $9.99 so the discount offset shipping basically). I actually needed it for automotive finishing, but the finer grits are so fine that you can polish just by wet sanding and polishing compound similar to the video above. Most folks don't have access (or need) for the massive buffing wheels luthiers polish with. The end of this video, Dan is drysanding frets with it.

Most glues will shear pretty easily with a simple tap perpendicular to the glue plane and the intended break line etched before the tap. Tape on the face and a wooden block used to protect the bridge should protect the bridge and face. IF that glue is extruded on the edges, I would trim that off first and use a utility knife blade (laying flat on the taped face) to etch a small groove all the way around he bridge before any tap... cracks will propogate along a defined flaw naturally, which is also how you can break glass, etc., with a simple etch before breaking. If you have *any* questions about this, I would reach out to StewMac (Contact Us) at the bottom, they are responsive and know just about anything you could ever think of related to a guitar. As far as finish damage... I totally LOVE watching Dan Erlewine work, and he has a lot of the Trade Secret videos on StewMac. He has some of the coolest and simplest methods to do things. This one is fixing chip damage on the face of a guitar (guitar repair meets autobody, which makes it even cooler). Dan is a big proponent of superglue (where applicable), which also has the advantage that it dries clear, but the razor blade/sanding technique in this can be used is SO many areas.

The other shocker I got with the 335 stock PUP was that the PUP shield is only magnetically mounted to the PUP. When I pulled that PUP out, the shield fell off! The screws in the shield are just for show, they do not go into the poles. You may need to use an adhesive to bond them together. Mechanically they are "close fitting" but loose enough they fall apart when not mounted. If it is the same design (looks to be), you will know by unmounting one. I put a post in the old forums about that issue.

Definitely play it for both this and feedback tests. I replaced the bridge in a 335 Dot and working via the f-holes was a pain, but putting thread on the pots BEFORE pulling them makes reassembly easier. The Epiphone PUPs are not the best.

Unfortunately there are a couple things missing in CbB for work like this - noise reduction (removing a static background sample from a track), and loudness matching. Another option *if* you have a program that can run batch files (for loudness on files) is to split the audio in the obvious places, then do a "Save As..." on the CbB project and select "Create one file per clip" option in that dialog box. All the clips you split will then appear as files in the Audio folder. If you run a batch on those and keep the same names, when you reopen the CbB project again, they will show that adjustment (and probably more tweaking). In some cases, a few "soft" compressor passes (no heavy-handed settings) will work at that point, but this is also where noise reduction comes in... if that original file has enough noise in the quiet parts, a compressor is going to raise noise levels too, so the editing might become obvious. Noise reduction should be done first if possible.

On Win 10 I have noticed just about everything plugged in internally needs to pass through Disk Management to get recognized. I am glad you got it worked out! Changing drive letters is no big issue, but the Disk # I have never figured out, and mine are all out of order. That only bothers me when I use an app that sorts by Disk #, but doesn't affect anything else.

Ain't that the truth ... that free patch set for TH3 that labeled guitar settings based on the song they were trying to emulate was a nice change of pace, but that was definitely outside the norm.

Connection speed and reliability of that connection factor greatly into anything "real-time." Your fastest speeds will always be in the box (ITB), and you will not need to deal with the syncing background processes that Glenn mentioned above. Even as a backup solution, definitely test your download speeds first... if you only get an effective "14 MB/sec" download speed, 6TB will take 119 HOURS to download back to your system (and possibly 1400+ hours to put it there, since upload speeds are far slower). If an app needs to go through the CPU smoothly, stay ITB. For archiving (and "possibly" data access, depending on port speeds) external drives are more likely a cheaper and safer solution (no one can hack anything not jacked into a network).

I am assuming that your reference track is imported into the project and only one track... that is the best way to compare to a reference track... then use the Exclusive Solo on the reference track only... when you click the reference track, you only hear that track, when unchecked, you hear the rest of the mix you are working on. Alternatively, if you have issues with other routing, you can mix down your current work to a new track, then go back and forth using exclusive solo on that mix down track and the reference track.

MXXX (and MXXXCore) look great on paper, but the complexity of them makes them difficult to use in most real-world scenarios. They also have the disadvantage that if you set up something, then walk away from it, that you cannot visually track how it is set without running through the modules, much akin to trying to figure out your sends in an old project. Another downside (for me), is that I would love to be able to have the outputs go to other tracks so they could be further processed as separate entities. I saw some post saying this can be done using surround channels but was never able to get that to work (and would much rather just output them to other tracks).

That is actually depressing to see, since the delta between those two bundles to buy them outright (now) is only $96. Those 3 synths are $773 (regular price), so $547 doesn't even pass the Eternal Madness muster ($386 if caught in the 50% off weeklies), let alone the "current delta" between the bundles ?. Matt had said a while ago that the best deal is to go all in on MComplete when it hits one of these sales.

At first I thought "wow 60%" then realized that 60% off price is close to what 50% off was 4 years ago. MCompleteBundle went up 300 in that time, but is still a little cheaper with the 60% off. It also has 10 more plugins than it used to.

I was hoping for that too since they are so close. I didn't even realize till recently that iZotope's CEO came from Cakewalk, so not sure of the history between the two.

+1 on both counts. I downloaded the audio from one of these (possibly this one) and made a video of the response curves on the old forums. The low frequency was definitely not accurate as a "number" since the curve is so wide on the low end that there was content stretching well above 50Hz when the number was reading below 20Hz (the crux of that post was someone saying they can easily hear below 20Hz). The high end was off as well, IIRC, but I cannot find that post. Interestingly, I found another oddity with MOscillator when this thread posted running it through the Realtek chip (and forget which host); above 12KHz the frequency began to oscillate and never went above 16KHz, and "20KHz" landed around 13KHz for some reason (i.e., hardware matters). I need to revisit that at some point and see what was really going on (and should have recorded it in the first place since it could have easily been a host blip). Last time I did this with MOscillator on proper equipment I was around 14KHz in my left ear, and 16KHz in my right. Regarding the high end... A fun game to play on folks is to use a good EQ that has a steep slope and lower the frequency of a HPF starting as high as it goes on a commercial track until a song can be identified. It will need to go a lot lower than you expect. In many cases, the content over 10K isn't contributing as much as people suspect, but you have to isolate that part and hear it for yourself to get a feel for it (try it on commercial tracks you know well). Bottom line, I wouldn't get too worked up about high end hearing, since it is much more often used to determine hearing loss. Content below 8K is what matters the most. The important part is to protect your hearing properly so that you get the most use from it for as long as you can (especially musicians). I walked out of a convenience store the other day and could hear the loose metal rattling on one kid's car (was louder than the bass), rolled my eyes and thought, "That poor ***** is going to have tinnitus before he is 25..."

I am confused... is this implying Sphere is not compatible with Studio One or just that they do not have the FX you are using?

Another consideration for "clone vs clean install" is from an organizational perspective. I did a clean install with this machine to purposefully look at what I was loading onto the machine (scraping off the stuff I never use), and set up junctions as I went (I keep my C drive small for imaging purposes). But even that route isn't fool proof, since I have 536 programs installed now and use maybe 10% of them with any regularity (junctions could actually be considered "bad" in this case, since it allowed me to put those 536 programs in less than 100GB of the C drive). Also... if using junctions... be sure to keep batch files for the creation of them. During a "clean" install you can simply run the batch files daisy-chained together (copy/paste them all into one master batch) to re-link a new C drive to the other drives in the machine. I let everything install to default locations for the most part, then junctioned anything (data file directories) that exceeded 4GB. The fastest drive in this machine is actually the x4 NVMe.m2 drive, so data files that do get used regularly went there.

For some reason I read RX as Ozone so was scratching my head till I realized I cannot read.... Spectral Layers Pro 7 has less artifacts from my experience, but RX Advanced will let background vocals through in many cases. In spectral Layers you can additionally split the stems into sub components (sometimes this will separate background vocals from the lead, but is iffy - can check the content for each layer as you go), but you may also need some post mixing to get the desired result. I forget offhand if RX Standard will do this, and RX (via the Mix Rebalance) doesn't actually give you the ability to export stem tracks to work with elsewhere (that I am aware of) but Spectral Layers does. The price point between Spectral Layers and RX Advanced is also significantly different.

Did you try to leave a message with the hospital for his wife? I doubt getting on a forum for the world to read is on anyone's agenda, but dropping off a phone number with the hospital so she could give you a call would probably work. Plus she would realize there are others out here worried for the whole family. Many apps let you call anywhere in the world free when on wi-fi (just in case a direct phone call is not free).