mettelus

As the OP uses synths in composition, this is something to be very aware of. In general, reverb benefits most to add "room space" to something close-mic'd and dry. Ironically, recording practice has become "strip all environmental effects, then add them back during mixing." Most synth presets are loud, wide, and dripping with reverb (to make them sound great solo), so those are things to address early on in your mixing chain. It is easy to over do FX on synths specifically because of this.

+1.... Win10 will even allow you to scroll through a non-focused app if the mouse is over it. Scrolling through some lists with those little up/down arrows is just painful. It seems like CbB is carrying forward internal scripting rather than leveraging newer APIs.

Ouch... that just reminded me of the need for mouse scrolling in the menu lists (there was another thread recently on that). Unless RX Connect is one of the last 5 FX used, scrolling through iZotope to get to RX is a PITA.

Both of these threads should be stickies... for NEW users, one of the first things they are gonna want to know is "What are the most-liked free VST(i)s for CbB." Managing it for the OP could become a nightmare, but a link in the OP to an external webpage might be simplest. There are often a lot of golden nuggets dropped by folks in these forums, but not everyone has time to mine for them.

This is an important point. When first starting out, the input echo allows the soft synth to be heard from the controller. Since you will most likely be building songs by overdubbing, leaving that setting to default will let you leave your controller assigned to the same channel and get your work recorded. When input echo is off, the soft synth will respond to notes in the track. Some soft synths allow "MIDI through," which is something to be aware of... sending a MIDI note to them will pass through (to other tracks), so if you get a "weird" instance of driving one synth, but hearing a second respond to your controller.... check 1) input echo is off on the second synth and 2) MIDI through is off on the soft synth you are using. Channels are something also to be aware of, but starting out what Bob mentioned is easiest... input to Omni, and automatically echo the selected track (default behavior). Side note: A cool feature of CbB is that if you have NO MIDI outputs enabled in preferences (highly recommended), when you open a MIDI file with CbB (right click and "open with..." if you didn't automatically assign MIDI files to CbB during installation), CbB will automatically insert the TTS-1 GM synth and route all instruments/channels for you. This is a nice feature if you want to play with MIDI files downloaded from the internet.

I only had experience with one. I do remember it being rather warm, but it wasn't hot enough to deter me from shaking a friend's until it was a perfect homogeneous solution. She said it took a month to separate back out and wasn't ever quite the same again. I told her NEVER tempt engineers with odd toys... they will either tear it apart, or stress test it till it breaks (and then probably waste hours fixing it).

I just put a Crucial MX500 1TB from the offering a couple months back in my machine as a sample drive. It maxed out write speed and stayed there for the most part moving 463GB of Kontakt libraries from my Samsung 970 NVMe m.2 (X4) (also 1TB, and I wanted the Kontakt libraries off of that one). First Crucial I have owned, no issues noted, and the MX500s seem to be rated nicely.

When TH3 is re-installed, it will reset, and default to "stereo" under the master controls (the "Master" button to the left of the tuner). That has caused issues in the past for me, so make sure that the "In source" is set to the proper mono channel there.

There are quite a few freebies on Patch Arena, and nicely sorted. The Muz3uM for Z3ta+ is at this link (download is in the upper right of the OP).

Jeremy Soule did some of the Elder Scrolls scores and I believe he is exclusive to Guild Wars, but definitely no amateur, since he "has been described as the 'John Williams of video game music'" https://wiki.guildwars2.com/wiki/Jeremy_Soule [Just read that through and he signed an exclusivity agreement with EverQuest... found that odd.]

The advice above regarding programming synth sounds is worth considering... There will be times when you will want to commit ideas quickly so you can move on, and tweaking something will end up being far faster than searching presets.

That statement can be applied to far too many applications! I am hesitant to suggest certain things to people because a follow-on sentence could easily be "invest X hours into it and you might get useful results with it." Have to step back when it is going to come across as "Get this, you'll never really use it." ?

Nothing to add, but wanted to comment on how nicely presented the OP was.

Rewire also loads on startup, and the one time I experienced this was from a 32 to 64 bit rewire wrapper, literally took minutes for SONAR to launch (sans project). Noel had mentioned Rewire in the old forums way back when (was a nice post on how SONAR loads), and deleting that solved things. Rewires for other apps if in your scan path could be similar. Since it is occurring on different versions, recheck your scan paths and if you really use what is getting loaded.

To add to the above, on the save as dialogue you will want to check "save one file per clip." The non-destructive edits is very likely, since clips are windows into the underlying wav file, so 10 "20MB" clips from the same 100MB file can actually save as 1GB. If you can extend the end of a clip and expose more audio, this is what you are seeing.

These are the technical alternatives for attack, decay, and sustain... the translator missed exonerate ?

https://soundtips.net/piano-vst/ Has a nice list and descriptions/sizes of the more popular ones. Post-processing is needed to tweak the character of most since they are free.

It is easiest to set tempo maps so that MIDI is firing in sync with the grid (simpler and just visually easier to track). TAB-ing through transients, and using Set Measure/Beat at Now (Shift-M) is a manual process, but can be quicker/more accurate than their automated counterparts, especially on material without easily detected transients. This is also how you can touch up where Melodyne drops the ball. Although you "can" fire off AD2 (MIDI) to some detection trigger, it can get convoluted and also prone to errors. Setting a tempo map (by beat if tempo roams a lot) makes things a lot simpler down the road.

Eesh... Extended version of Mortal Kombat? Once I hear a riff twice, I get it... listening to it incessently is beyond my patience.

^^^^ Did you give this a try? It seems like this is what you are looking for... Auto Track Zoom basically remembers two track heights (selected and non-selected). With ATZ enabled, you can use the mouse to collapse ALL non-selected tracks to a height you prefer, and when you select a track, it expands to the "selected" height (also adjustable). When you select another track, it will shrink back to the non-selected track height automatically.

FYI - It only took two cycles for MStereoSpread to show up on Melda's Eternal Madness (50% off 4 plugins each week). One thing to always bear in mind is that there is no right or wrong for anything artistic, so always take things with a grain of salt and pick and choose things as they apply (or don't apply) to your situation. Regarding collapsing to mono... cell phones speakers can be a brutal test bed for music, but a good reality check. They lack in both low and high frequency playback, and collapse things to mono. They do serve a purpose to check mid-range frequencies, crossover band (and slope) selections, mono compatability, and hear the song in a less-than-optimal enviornment. A lot of music is listened to on mobile devices these days, so I often use the cell phone speaker as a litmus test with the assumption that ear buds (and mp3 formats) will be the most common playback medium (and ear buds really aren't a massive improvement).

I ended up ordering one of these since K12U is eating a massive chunk of my NVMe and not sure which libraries I will actually be using yet. I never thought I would see the day where a 1TB sample drive was too small, yet here it is. The drive prices are funny to remember... it was a HUGE deal when they broke the $1/MB mark, now they are significantly faster at $0.10/GB. A year and a half ago I got a phone which sported "support for a 2TB MicroSD card"... they weren't even available then, but are now.

I finally had a chance to listen to this on a real system (it does not collapse well to mono on a cell). With EQ specifically, mirror EQ (boosts with complimentary cuts) is often done statically (fire and forget) and in a linear fashion (not making use of the stereo field). The lick at 3:04 is an example where the guitar is 100% focused (no competition whatsoever), but carries the same box it had previously. After a lick has been heard a few times, compressing and lowering the volume will let it carry forward as new content is introduced, but again should not be static... as instruments regain focus they very much should dominate their time in the limelight (such as the 3:04 example). Dynamic compression on the output can be helpful to give the entire "eq box" initially created room to breathe, since you can set a dynamic compressor not to dig into things until the combined sum gets out of hand - taming the 200Hz, 1KHz, and 5KHz areas a smidge helped out. Moving "focus" snippets to other tracks, then copying/modifying the FX bin is another method (or duplicating a track and modifying one for "focused" and the other for "sunk in the mix") - automation is another great tool for moving things around dynamically (when two signals get more than 2dB apart, the louder starts to dominate). From a stereo standpoint, you could also try the spectral generator from MStereoSpread, which would allow you to also get things out of each other's way (and sometimes simpler). That does collapse to mono (so would need some mirror EQ), but would give you a little more freedom not to over-EQ mix components (roughly the 2 minute mark in their teaser shows a similar example for a vocal). If you like that, bake it into a bounce before the trial expires, and Melda has a weekly 50% off sale of 4 FX each week (and all of them roughly twice per year), so it will rotate through at some point if you like what it does. I personally wouldn't get caught up in a hardware upgrade loop for this... once in the box, you can do a lot with an audio signal.

https://www.jrrshop.com/izotope-iris is the link on JRRshop.

Unfortunately no, and even with one common offender (ARIA Player), it is actually not the player itself, but defined into the instrument loaded into it. Since CbB will look backwards down the track prior to playing, it is almost always better to leave that setting unchecked and use/record automation lanes for parameters.