mettelus

If the guitar is new to you, you may want to consider having a professional set it up initially. Proper truss rod tension, nut height, and saddle height (should be done first) can play a lot into intonation that string length alone will not cure. If changing string gauge, these should be rechecked afterwards. Also be mindful of comments on the internet (even mine)... intonation boils down to checking harmonic string length vs. fretted string length, and the harmonic near the third fret isn't actually on the fret (is roughly 2.9) nor does it come close to matching the note when the third fret is fretted... this is why the 12th fret is used, since the harmonic and fretted positions there should match perfectly to each other.

I kept typing this on my phone but realized I needed to be on the computer. This covers a bit more than muddy base, but wanted to make it more complete for folks who may hit this thread later. Three quick items. First, as mentioned above, there is no magic formula, but references like this (can Google "EQ Cheat Sheet" to find others similar) give a nice overview of how frequency ranges of common instruments affect their character. Second, mixing is where you will often create issues, so placement of things on the sonic stage and minimizing frequency collisions will keep each instrument more clear. This old Fabfilter Pro-Q walkthrough by Dan Worrall (10:10) is one of the nicest I have seen and worth a gander to see mixing "in action" and why he is doing what he is doing. This is geared more to traditional instruments with defined frequency ranges, which leads into... Third, this comment I see as a (possibly THE) challenge... ... reason... synths (especially presets) are often WIDE, and cover a MASSIVE frequency range... two synths can be challenging, but several can make an absolute frequency collision nightmare. Some quick comments on how to deal with this (these are more than just bass, as synths create their own unique challenges): Narrow the frequency range of each synth with both a LP and HP filter - solo the track and dig into each end of the synth till you start to lose the main component, then back off a smidge. The only part required for each synth is enough to get the point across. Consider narrowing the stereo field of each - collapsing them some will allow left/right placement on the sonic stage as well as make mirror EQ (slight EQ cuts in one track with complimentary boosts in a competing track) easier. For repetitive riffs, consider setting them back in the sonic stage (compress slightly and lower volume 3-6 dB) - once a listener has heard it a couple times they will "get it," and backing them out of the mix a bit will keep them present, but not make them compete with other mix elements. Be very judicious with time-based effects (delays, reverbs, etc.) - due to the high frequency content of synths, it is easy to "smear" them and mud them up with just the effects used.

It shouldn't make that great of a difference if the guitar intonation and nut are set properly. However, wear on the nut, string height, and finger pressure will all play into how accurate intonation on the open string is to fretted ones. I have one guitar that has a locking nut that was not installed properly, and although I moved it, I tune that guitar via a G chord (3rd fret, 2 fret, open, open, open (or third), 3rd). The reasoning is that the G chord is the most common 6-string chord I use. *IF* (and more important than which fret to tune on) the node at the nut is dead-on, and intonation at the bridge is set properly, matching harmonics on the 5th fret to the 7th fret on the next higher string (except for the A->C jump) will give the most accuracy. The higher the frequency, the easier it is to match beat frequency. Doing this will *not* take into account string height/finger pressure... it is easy to bend a note out of tune with finger pressure on the fret alone. You can easily find open strings to be perfect, but how much they need to be bent to fret them will cause them to drift. I am sorry this isn't a "yes/no" answer, but the setup of a guitar will play a lot into intonation... if setup accurately, where/how it is tuned will not be as noticeable. Playing with a tuner at various locations can reveal a lot... even a perfectly set up guitar will have some level of frequency variation across the fret board.

Does your image software allow creation of the USB boot media (from another machine)? It may even allow that USB to be a different OS than the image, but not sure. My computer doesn't have a ROM drive, and the one time it got flaky, Macrium Reflect created the USB then booted from it without needing to touch the BIOS. I am not sure if you have tried the USB boot option yet, but that saved my situation a while back.

Comments and behavior in this thread are disturbing enough to totally distract from any bug fixing. So much so that it brings other "coincidences" in the past month to mind immediately for me. On March 24, the OP posted this thread, which was immediately replied to by a person who joined March 17th. A bunch of videos were then posted, and this very thread was then posted by the same OP, but the concerned party didn't respond for 5 days... although posted an hour+ video in response to feedback from a similar thread, which has since been locked. OP then makes a comment "If Bandlab fixed the bugs and offered to give him some financial support, I bet he'd be more than happy to make awesome Cakewalk tutorials." Although the direct response to that comment was already made, the person in question then responds to someone they downgraded repeatly with "If I'm to be an ambassador of this program and take part in deep bug crushing and such, I think it's quite logical that I deserve compensation." (Ref this post in this thread) 3 and 4 above were so far out in left field that they brought attention to the rest. Cakewalk responded to the bug issues in all threads, so that tends to make the other behaviors stand out. As the other thread was locked before there was any reply and associated antics here, I am struggling on how the thought process moved from A->B. It now comes across as a "social media experiment gone bad."

Before jumping to a conclusion, I would recommend testing your system first. DAWs are primarily 2D, so are not intense on graphics. High end graphics cards are geared to provide 3D rendering to unload the CPU, which is not necessary for a DAW. As your CPU is high end, you may see core loading a little higher since the CPU will be needed to render graphics, but I doubt you would really notice it. Even on a "high end" graphics card, the delta in 2D benchmark over something generic isn't much at all... you only see massive jumps in performance for 3D.

Revenue gimmick for weddings... They auction off to the highest bidding party for which person stands on a grounding plate during the ceremony. Sadly, I wasted all of that money on a day with no storm ?

Not sure what Mesh is after, so Stutter Edit may not even be an option. As far as price, it was like $25 (or even $10?) at one point around Christmas time (I had to check to realize it is still listed as $199). Another disclaimer with that particular one, is it really falls into the "RTFM" category if you want to do composition with it. I think that its main purpose was for live performance above all else (i.e., creative screwing around).

If only a few note values need re-assigning, Chuck's solution may be faster. It seems the OP is moving individual notes (painful), but his method will select entire rows, allowing you to shift-drag (to preserve timing) them all to a new value (and should hear the kit pieces as you drag too). For a lot of note values, a drum/key map may be more efficient, especially long term. If you go this route, be sure to save the mapping with a descriptive name so you know what it is and can find it later.

Tantra, as in this? Not heard of it, but think that is it. What are you looking to do? There are a lot of VST(i)s that have "random" functions to them... and I mean a LOT... That Tantra plugin seems like most can be done with StutterEdit from the demos that are streaming along now (manipulating/mangling existing audio)... for StutterEdit in particular, shutting off the "Stutter" module opens up a lot of its capabilities... most of the presets tend to use that module in an excessive way (due to the plugin name), but there are many more modules that are all based on manipulating sound buffers into the plugin.

The top picture on that page is easier to read, which is "Chasebliss Audio" The color of it leads me to believe it is the "Warped Vinyl HiFi" pedal, but not certain. I have not heard of them, but that is the brand at least.

Good grief... The people who name these things are working in the wrong industry, I think.

I didn't realize the title till I replied. 8 bars is roughly 6 seconds, which is tight for a solo of any kind.

As you do not have a preconceived solo in mind, this option would yield more interesting results. Bar X to Bar Y type of thing. Creativity gains ground when people are asked/told what to do, but not how to do it.

I have never heard of that either, but the video makes it look like a visual patch cabling system. Such an overlay would be very nice for complex projects or routings (there were similar feature requests in the old forum). When opening old projects (or collaborative ones), there is always that time spent getting acclimated to sends, busses, and MIDI channels that this might help with. It also mentions FFT for routing without going into much detail.

You may want to consider editting the original post to something like "[Solved for now] Help with Focusrite 18i8" Otherwise this thread will get SB comments till the cows come home... at that point GirlDairy's thread will come back to life.

+1 to the above. Additionally, are you recording audio? That is really the kicker... For a desktop, the onboard Realtek would already provide everything a SB card would for playback only (probably more, since I believe most Realtek chips are surround capable these days). I assume you have a Realtek chip on your motherboard... so the SB is probably moot. Shifting gears to your underlying issue... I switch between my Realtek and Focusrite Saffire frequently... one issue with the Focusrite may be that you need to have it online (and seen by the system), then explicitly set the onboard Realtek as the default Windows playback device. This is done under "Sound" in the Control Panel. *IF* the Realtek is already the default device, set it to the 18i8, then set it back to the Realtek (again, the "default" assignment must be done by the user, not Windows). Once that is done, Windows will see it but not use it... only programs you explicitly ask to use it will gain access to it. This may be the issue you are seeing with your 18i8. If not done, Windows will let any application use the Focusrite (and lock the bit-depth/sample rate), which can then lock out the Focusrite from DAW usage. Disclaimer... using both the Realtek and Focusrite as mentioned above will require two sets of monitors (one for each sound system).

If the OP ever returns this is probably the best advice in the entire thread. There are plenty of reasons why, and more potential solutions; but what the OP really needs is to understand what is done with specific material... the why and how... and see the end result on something they know well. It would be a more beneficial learning experience to get this advice rather than generic "what if solutions" thrown back at you. Definitely consider this option. Also bear in mind that you can also choose the option to selectively post/share material rather than for public dissemination.

+1, I am baffled at times why people blindly slam normalization when its function is fairly simplistic and isn't going to hurt anything so long as you don't clip. As compressors/limiters are built with "normal operating bands/ranges" in them (software not so much, but hardware for sure), what normalization does achieve is the ability to use the follow-on compressor without having to use extreme values for expected results (and potentially undesired side-effects). FX chains (in general) lend themselves best to processing somewhere close to unity.

Yeah, I have pretty much jumped off the GAS bandwagon since it takes more time than it is worth more often than not. One thing with MDrummer Large that is a royal PITA that I didn't figure out till I came across it in a video is that MDrummer will randomly select the following beat... turns out there is a buried option (on by default) setting for "Random loops." I shut it off via the "Rhythm Editor" tab->Settings Pane (upper right)... there is an "Additional" button... you can disable "Random loops" at the top of the pop up window... just why that is enabled by default and buried so deeply in the settings is beyond me, but you will want to disable "Random Loops" first thing if you want to keep your sanity learning MDrummer... "random" and "composition" rarely mate well. I haven't done any tutorials in years, but MDrummer could use some love on a concise "Pathway to production." Although there quite a few videos out there, you would need to spend too much time (IMO) to grasp it enough to use it properly if you wanted to create/play songs with it. Even owning it, I turned my back on it for months until one day I decided to actually learn it, but even then the "Random loops" tripped me up (I got a lot of choice cuss words out that afternoon ?).

I admit that I am confused by the linkage of XLN to CbB above (they are separate entities), since it really boils down to "A 3rd party drum VSTi is required to achieve this in CbB." That is very true. But there are also other VSTis already that can do similar (if not more), so I am trying to find the "Revolutionary" in this. Regardless of DAW, drums tend to boil down to: Generating (not all have this), modifying, and saving kits. Generating (not all have this either), modifying, and saving grooves/patterns by type (intro, verse, chorus, fills, outros, etc.). Layering, slicing, sound manipulations. (backend sound engine). Firing off kits/patterns appropriately for the song being composed. I have been using MDrummer for a while now, and the "Large"(or the paid-for version) would be $125 when it rolls around in the Eternal Madness Sale cycle. The one feature of that that I immediately enjoyed was the ability to import drums samples from anywhere (so long as they are not in proprietary formats). Even without that, it will randomly generate and build kits (iteratively) based on genre (or mix and match). The other cool thing they do is open up "Studio" kits each year for users to submit samples, and the last batch put out was rather hefty (14.3 GB IIRC). As with a few of Melda's VSTis, they are so deep that if you go beyond the "easy screen" you will need to invest some time to use it properly. The "problem" with 8000+ drum samples is this... a user wants to be able to sit down (from scratch) and create a usable kit/patterns in the shortest amount of time so that they can keep moving with a composition.

At first I thought this may be a takeoff similar to Newscool, but seems I was mistaken. Not really sure what to think of it now, but the video bored me pretty quickly.

But... but... Atlas looks like a Lite Brite and this has dots of different Sizes?? Wait... wait... wasn't your point... carry on. ?

It has been a while since I've used MV, but the other issue is that MIDI learn needs to come from a hardware source. If you could feed a MIDI track into MV and MIDI learn note data from that driving track it would be simple (locked to a MIDI channel would be even better). Such a feature would dramatically improve the usefulness of the MV. One underlying reason for the OP is also that a column can be of several sample lengths, and there is no way to define "end of column loop" to my knowledge. As tecknot mentioned, the only way I know to drive columns is manually via mouse-clicking or a hardware controller that was MIDI learned.

Welcome to the new forum! Yes, you are correct on both counts. Since newer versions overwrite some common files, it is recommended to Install things in chronological order. When I loaded this machine, I did the Basic Installation X2 (to get R-Mix - be sure to check both Basic (Core Program only) X2 installation and R-Mix too if you want it)->Cakewalk Command Center (for Platinum and all things housed in CCC)->Bandlab Assistant (for CbB and the updates applicable since CCC).