OutrageProductions

Or you could <Save a Copy As> with a 'raw' name and then reset it and strip out all the bells & tweaks.

Under $100 and definitely better than onboard I/O, with real ASIO drivers. https://www.presonus.com/en-US/interfaces/usb-audio-interfaces/audiobox-series/2777700108.html

Be that as it may, my original post still stands. If you had payed attention to the development of K7, it was explicitly written with a new code base, requiring minor changes in new exclusive instruments that make them backwards incompatible. I run both K6 & K7 and have not logged any hugh differences in load or run times.

Due to a partially new & different code base for K7, an instrument made specifically for K7 will NOT run in an earlier version. Time to update the engine.

In the clip properties Inspector, you could type in the exact bar/beat/tick where you want it placed and that will move it. Don't know about replacing old with new though, may have to edit it post move.

Reddy Kilowatt to the rescue!

I do something like that often by using <N> (snap to grid off) then pull/push the beginning of the notes L/R. But only if I'm really opting to mess with timing or attack.

This is home on a good day. I have friends in town on a fiber net with 1Gb up & down. Jealous!

I have both those AND the Indiginus Blue Street Brass (which has a lot of solo patches, but no articulations) and layer them up often. Can get some really killer EW&F type stuff going that way.

Among the many things that we should be thankful for is the new Export module dialog. I remember well the days when you had to make sure that each and every audio track was extended to Bar 1 Beat 1, bounced, and then saved as Broadcast Wave files in order for Pro Tools and Nuendo to be able to import them in the correct timing. Whew... so much easier now.

SMPTE/EBU is a worldwide standard for longitudinal timecode as an audio stream. I used to own an Otari TC gen/rdr that was battery powered and was about 4"x5"x1.5" with display... just looked for it in my accessories storage and it is gone. However, it was very similar in appearance and operation to THIS. You could find out what frame rate (24/25/30/29.97/df) that you need to use, record the output of this unit on right channel, music on left. Boom... done.

The easy way to do it is what @Keni said. COPY the VST3 from inside the recursive BBC Symphony Orchestra directory here: C:\Program Files\Common Files\VST3\BBC Symphony Orchestra (64 Bit)\Contents\x86_64-win up level to the C:\Program Files\Common Files\VST3 and paste. It is 50Mb, so on my machine, no big deal. It will still show an incorrect path in the PI Manager, but it works. There is a much more difficult way to go in and hack the registry, which I eventually did, but won't detail here.

Most users rely on the defaults and don't sweat it.

Right up to the point where HAL ejects you into the void of deep space anyway...

From the documentation: "Automatic effects tails flushing during bounce. Many VST plug-ins do not properly flush their effects tails via reset state transitions. In some cases, exporting multiple clips or arrangements could result in tails unexpectedly appearing in the export/bounce. To address this, Cakewalk now automatically flushes effects tails during export/bounce operations to prevent left over effects tails from leaking into exports or being heard. By default, tails are flushed until a threshold of -70dB is reached or 20 seconds of silence is detected, whichever occurs first. The dB threshold and max duration can be specified via the following Aud.ini variables that can be set in Edit > Preferences > Audio - Configuration File: BounceFlushTailsMaxDurationSec=n (0 to 60; default is 20; set to 0 to disable tails flushing) Effects tails maximum flush length while bouncing (seconds). BounceFlushTailsThresholdDb=n (-120 to -40; default is -70) Effects tails flush gain threshold while bouncing (dB). On export, the audio engine will first hard flush any effects tails from all active plug-ins referenced in the project, including track/bus effects, clip effects, effects chains, ProChannel as well as instruments. Flushing tails is done both pre and post bounce/export in order to prevent unwanted tails from sounding after a bounce or appearing in exports after playing a project. Effects tails flushing is done in efficiently using parallel processing when the multi processing engine is enabled and is normally very fast. Flushing progress is shown on the toolbar during the bounce. If you wish to disable this, set BounceFlushTailsMaxDurationSec to zero."

@Hillmy I just ran into that same problem last night. Your solution was obvious to me as well as soon as I examined the file path. I thought it was just me. Kudos. Officially the roll-out will happen by July 6th.

Since ArtMaps are only a fancy way to play a MIDI 'note on' instruction, especially for any keyswitch that has a 'latching' type command (and not a 'modify while held' condition), starting playback after the initial instruction has passed in time, the VST will revert to the last played instruction. This is operating as designed. Articulations based on CC# instructions CAN chase however. Edit: sometimes it helps, since MIDI is a serial data stream, if you advance the articulation by just a few ticks in time so that the instrument gets that command before any of the affected notes are played, it may work better. Of course, you must initiate playback earlier too. I have several orchestral VST's that respond this way.

Make sure that both instruments in the rack are not on the same MIDI channel.

I tried a version of Reaper in 2017 and couldn't stand the UX. I have Cubase 12P and it chokes on my machine at about 80 tracks, but I use it occasionally for specialized projects. I consistently run CbB on the same machine with 120+ tracks of Spitfire, Kontakt, EW, and UVI plugs... and can't remember the last time that it choked on anything, as long as I didn't try to outrun it. But as an engineer/mixer/producer with 47 years in the can and I make my living each and every day with audio, and have credentials to prove my success, I know enough to commit something to a less machine stressing format like freezing VST's once the composition of a section is finalized. The only time that I try to "mix" anything while it is still in liquid form is if it only consists of usually no more than 10 or so tracks. It could be that you need to think of ways to modify your workflow and engineering skills. Just sayin'...

Humanize Plus is a decent CAL script for both velo & timing but I never dial in more than about 12 units +/- for either one.

You might have missed this particular "Let's beat that dead horse some more" topic: I was almost tempted to open a new bottle of Malbec and make some fresh popcorn. But I was laughing too hard...

You could try a disk defrag (if it is a spinner HD) at the OS level. Then rebuild your search DBF at the OS level.

In my experience for at least a decade or so, calling the keyboard shortcut dialog has always had a delay of a few seconds or more depending on the speed of your system. Nothing to get upset about.

Jeez... you'd think there would be some way to... I dunno... make a desktop shortcut in the operating system? ?

It's been a while (2008), but the last time I needed something to sound like it was mixed at NRG, I just mixed at NRG.