Mark Morgon-Shaw

It works here, Here is a recent track where I used it on the guitars - most of the clips need to go down slightly in the mix apart from one near the end that had to come up It sounds like you are doing the right thing..split the cips..Ctrl-drag the red line up and down. Not sure why you are are not hearing the level changes Unless you are adding FX that are bringing the level back up ? Compression, limiting etc ? Try bypassing all the FX and listening again (blue FX button on tool bar ) and see if the changes are more obvious without the downstream FX ?

Yes, I've listened to HiFi setups that cost in excess of £100k and it's a completely different level of experience. But the demo recordings they use are not by people making music in their spare rooms. They're generally top class musicians recorded in world class faciilites with high end equipement playing great music. Not Jon from Basingstoke in his shed making sub par Prog drivel on his laptop so he can get 7 likes on Facebook. So it's all relative. Songwriting - Performance - Production - MIxing - Mastering all trump recording media and delivery format. I can get more enjoyment from a great song that was recorded 70 years ago in mono , over an AM radio than virtually every home produced self released track I've ever heard. And I've heard a lot. I agree that N'th degree improvements can wring every last ounce of detail if you have the ears and the equipment top hear it , but if it's not top notch material to begin with then nobody to whom it might matter will be listening.

It's not that subtle to me either, but I spend hours every day listening to audio critically. It's what I do. The rest of the family wouldn't tell the difference, they are casual listeners who consume music on their phones, laptops or smart speakers or possibly ICE system. I don't even think my teenagers have ever heard a lossless format. They are typical listeners and they will never ever hear the difference in a mix. However if you give my wife a photo which looks perfectly good to me she will point out if the focus is soft, pick up on chromatic abberations, converging verticals and blown highlights. As experts we focus on tiny details which are insignificant to the uncaring masses. Hence..moot.

I never said you can't prove it exists , what I said was it's moot because 99.9% of the listeners can't hear it - hell ...most of them can't tell 128k MP3 from a CD.

Yeah, I prefer the midi learn thing but it loses it's bindings if you clsoe the project..which seems a bit mad

All these high sample rate , high oversampling options are pretty moot in a real world scenario. Most people can't out-mix 48k 24bit...and if they can most listeners can't hear it or lack the equipment to resolve such n'th degree differences.

I've always seemed to struggle with ACT, I just don't bother now

One of the publishers I work with ask for a short silence of at least 250ms at the start of each track so this would be handy, especially if it could be added to the Preset

Yup

I think what's happening here is the cursor ( which is invisible at this point ) is hitting some sort barrier and stopping It's not that the automation line won't go any higher because you can release it , grab it again from a bit further down and eventually drag it all the way to the top. Glad to hear you've had the same issue with the lop-sided nodes on the Ctrl-drag Another one I've encountered ( and posted about previously to no avail ) is that sometimes you can't drag a track into a folder from above. It misses the Folder altogether and jumps to below the Folder. Then you have to release it and drag it into the Folder from beneath.

I've had my Stream Deck for quite a while now but I set it up with my own commands, I didn't know there was a company selling dedicated plugins - it looks quite clever. When I first set mine up I added things like all the transport controls etc but for me I didn't find it that useful to control things I could easily access with the mouse and keyboard in the end. It was just easier to hit the spacebar. However I use it all the time for things that are a little more hidden away that I use quite ofte.. Eg. I have one button to open my Audio interface driver so I can adjust latency A macro that closes the Browser and the Inspector and sets Cakewalk to full screen A couple of Cal routines set to their own button like Humanize A few buttons to use in the Track View , one opens the Scale Velocity dialog , another 2 transpose the selected clip up or down an Octave which is about 6 key presses in one button so it is quite a time saver. I also set one up to bounce the selected clip to audio which I find pretty handy. The cool thing about these devices is how flexible they are and they're generic unlike a dedicated DAW controller so I can use it for other Apps as well Hope you enjoy using it.

Seems to work okay for me in a current project However...... I have been having different issue so I wonder if it's related In theory I should be able to select those two upper most automation nodes and Ctrl-Drag that line between the two points up and down. But it always seems to " let go " of the right hand node , and I end up with this instead It always used to work fine but at some point it's gone a bit strange. I thought it might be me but if there are other known issues then perhaps it's related.

It's a perfectly valid attitude, very few musicians can wrap their head around the concept. Even fewer can actually come up with the goods consistently. But relating back to the OP , when there's deadlines involved and you have to pump out a lot of music in a variety of genres you don't get the luxury of waiting for your muse to grab you. Creativity is like a muscle and the more you work it the easier it becomes, a lot of it is to do with overcoming resistance and procrastination. I don't think it's especially age related , maybe the end result is different at different stages of life but I make more music now than I ever did in my teens / 20s / 30s

It would make much more sense to me if the two were independant

Another +1 for Izotope RX I have Waves de-clicker which can sometimes work but RX is a whole different level

I don't think it is ASIO, if you watch this video ( FA-06 / FA-07 / FA-08 all seem to share the same driver ) he installs it on SPLAT and it looks as though it's just a class compliant generic driver.

I use the baby of the range the ID4....can't say I have had any issues like you have mentioned..not sure if they use a common driver ? Have made a screengrab. This is the one I use and I can go as low as 32 samples buffer if I don't want to run hardly any plugins - 128 is where I normally start but I use lots of plugins so I generally end up at 1024 near the end of the mix process. This the resplendence Latencymon result after playing a track with about 25 tracks and 35 plugins Mine is a desktop PC with a Ryzen 3900x - hopefully that gives you something you can compare against to see if anything is different.

So basically you have :- Vamp 3 - Amp Sim which it says comes with a UCA222 USB audio interface for stereo I/O and direct (zero-latency) monitoring - this ships with ASIO4ALL because Behringer use it instead of writing their own drivers on their budget products R8 - Mulitrack Recorder which also works as an ASIO interface Roland FA-07 - Workstation keyboard with Multitrack recorder and USB connection ( not ASIO AFAIK ) I think the first thing you should do is install the latest ASIO driver for the Zoom and get it working and use it as your main interface and mixer etc. The Roland is mainly for midi I assume so that can just stay as the controller keyboard over USB. The Vamp 3 is using the cheap UCA222 to get it's audio into the PC and it's only got ASIO4ALL so I would ditch that little interface and hook the Vamp up to the R8 and go in that way.

Don't forget to process it through Drip......2 clicks and it's perfect !

Per Project Audio Files ( they used to be kept in a centralised folder back in the day )

With Library music generally you don't "sell" it to them ( unless you're Hans Zimmer or someone ), you usually write an album's worth of themed material ( i..e Sports Hip Hop Vol III ) and offer it to them gratis and IF it's of sufficient quality and something they they think their clients could use they will sign it to their catalog. Obviously there are thousands of musicians trying to get in as well so it's quite competitive. Should your music get used by their Clients I.e. in a TV show, with most deals you get half and they get half of the royalties share. There are many variations but that's the most common scenario in a nutshell.

I've not heard anything that generates "AI" music..i.e chords, melodies etc that I've felt compelled to use. I've tried things like Cthulu by Xfer , I have a license for the Captain Plugins which seemed like a good idea at the time but after intial experiments found it wasn't that much use to me, but they have a drum - bass and melody plugin as well. Every time there is a an update to AIVA I give it a try to see where it's at but it's not there yet although it's certainly better at creating something semi-listenable than instacomposer. I'm sure there's one or two more I've come across in a simiar vein. The best things I have found are plugins like EZbass where you're providing the harmonic structure to the plugin and then it's using real performance data from an actual musician to generate the part.

The parts it creates are pretty basic and uninteresting , I didn't hear one single pattern I would want to keep and work up into a full track

OK I just watched it , sounds pretty lame to me.