OutrageProductions

As @Kurre mentioned, watch to see if Sonar is a background or lesser function in Task Manager. If so, go to the executable for Sonar, RMB to properties and set to elevate priority.

My colleague Barry Henderson beat this concept to a pulp back in 1993 with the introduction of the IZ-RADAR I & II. There are about 10k units in use today, and I spent more hours in situ recording major artists on one than I care to count. Sell your old hardware and buy one. They're available on the used market for next to nothing. Problem solved.

If you can construct a facsimile of the song as a 2mix (even using GM instruments) ; Shazam and/or Soundhound can probably identify them.

Only if you can emulate Windows in a virtual machine.

Pushpin 📌 icon top right corner.

Works perfectly here, but then everything in my system runs through my ASIO interface... windows sounds, mediaplayers, Skype, OBS, YouTube, browser, et al.

I have a highly modified "Gilmour" strat with honed down frets and low action, so all bending is perpendicular to the neck. Mild arthritis doesn't help either. I once had a '73 SG where the frets were like brick pyramids and tall. Sold it very shortly after acquisition. Not so with my '58 gold top LP.

If only my left hand could get those stretches/vibratos like that on my strat, I'd be a happy camper!

There is a "strum" CAL function.

Change your base octave in the preferences.

It looks like a rev E or later (black face) approx 1968-72.

It's never too early to hone that skill set. I use Cubase as well, and artmaps are very similar in function. Here is a very good primer.

You could also simplify your life by creating & using articulation maps for the instrument. The 'C0' nomenclature stems from the lowest playable notes on a standard 88 key piano, where "middle C" is commonly C4. Many DAW's (and VST instrument manufacturers) prefer C3 as 'middle C', hence the confusion. In the PRV, you should be able to enable articulations starting from the lowest note, and map them from there.

The principles of physics and magnetism still apply, regardless.

You've got electromagnetic field issues which are common in consumer grade audio electronics. Make sure that power & audio/data cables are not physically laid in parallel, move things around to minimize noise, and use a USB cable with a ferrite choke on it.

Between bad product, overabundance of bloatware, and terrible support, my last HP laptop went in the dumpster in 1998. I've never recommended one since.

Not all EFX have side chain inputs. You may want to try a "trance gate"... Kilohearts has a freebie that is minimal but functional.

To all those with an unhealthy obsession about antique technology:

The magic that you seek entails some work. There is a CAL script called "Split Notes To Tracks" which will separate and create a new track for each note tuning. Then I usually recombine the Snares (SS, flams, etc), Kicks (open/damped, etc.), Hats (open, closed, pedal, etc.), Toms (all), OH (all cymbals), and toys into relative MIDI tracks, solo them, and then print new related audio tracks just like I did when using a tape machine 40 years ago. I usually end up with audio tracks: Kick (mono), Snare (m or s), Hat (m or s), Toms (s), OH (s), room (if available), Toys (s).

I've been driving 4 monitors with a 6Gb 3050 for quite a while and love it. But I don’t game on my workstation.

I have had "divide by zero" errors in the crash dump a few times. One cause was me outrunning Scaler 2 with keystrokes, and the other (more often) was from a too small block size in the buffer setting of my Audio I/O driver control panel. Granted, I'm occasionally using a device that has a driver from Win Vista days that still works, but requires a minimum block size of 512 or it crashes CbB. (but not Nuendo, Cubase, or PT, interestingly!)

It is tedious. But to get to the magic that you desire, some work is required. If the articulation changes are short and sweet in a passage, either ignore the delay, or edit the individual note(s) timing in the phrase. If the articulation change involves a complete phrase/section/passage, then it might make sense to put that on another instantiation of the instrument/articulation. As mentioned previously, you can use ArtMaps and set individual articulations to have different offsets, which will change the timing that the articulations take effect (in case some instruments react slowly to changes in articulation [I've found that Scarbee & VSL have some issues with this])... however, this will not affect the actual attack timing of the instrumental note itself. Some Spitfire and VSL instruments have internal timing offsets available, but for the entire instrument. There are YT vids re: VSL covering this. Scoring well is not easy, which is why so few of us make a living doing it.

If the tempo is fast enough and the VST response is slow enough to be an issue with attack rise times, I use a separate instance of each instrument (VSL is notoriously slow attack) articulation and adjust each articulation track timing offset accordingly.

<Views><Synth Rack View> OR [Alt+9]. It will pop up in the Browser at the right side (default) of the Track View screen.

Try to use one of the shapes in the paint tool to draw the automation in the TV lane (for gain maybe linear, for freq try sine or triangle). However, minimum shape on most of them is measure unless you calc and enter seconds.