Dad3353

Hmm... A contradiction here, it seems. However... Have you registered your SE49 with Nektar..? They should be able to help; see here ... Nektar ... Are you using the Usb cable that came with the keyboard..? Is the laptop Usb port able to correctly power the keyboard..? Have you tried a reset of the keyboard..? For GX series, GXP series and SE series: Turn the Impact off. Hold both Octave buttons while turning the Impact back on. The LEDs will flash. Release the Octave buttons. Have you turned the laptop off, then on again (not 'sleep' or 'hibernation'; really 'off'...?

I've told my PC (Windows 10 Pro, 64-bit...) that the 2016 version running on it is not to be updated, save for the anti-virus definitions. I had to roll it back a couple of times before 'freezing' it in time, as the updates were walking all over my Reaper stuff. The 'freezing' itself was not a simple job, involving numerous edits of the registers and services, but it's been stable now for several years.

'Expert'..? Perhaps not, but we'll see what we can suggest... A new laptop..? Therefore new installation of Reaper..? Maybe the default settings need tweaking..? Latency usually comes from the set-up between the PC and the interface. What interface are you using..? What Audio Device is Reaper configured for..? Here's a screenshot of mine (old Tascam US144, but many will have similar settings, so it might be close...)... How does yours compare..? (Right-click and open in New Tab to see this image more clearly...). Over to you... Douglas

Check the bridge intonation adjusters for sharp spots that might be provoking these broken strings..?

See above 👆 : '...All I'd need is a PM with your home address and I'll post a Tx...'. What's the issue..?

The musical genre has an influence, but each medium has its own constraints (bandwidth, dynamic range, linearity, and more...); vinyl has maybe more technical issues than CD's, I would think. A Mastering engineer would probably be more experienced in some combinations of genre/medium/target audience than others, and thus more equipped to deal with these constraints. It's pretty much a 'dark art', though, and musical taste can play a part; a 'successful' mastering for one might be quite different to that of another. Choosing the person (or studio...) can be important, to get the final sound that's wanted.

Generally, yes.

I concur with my learned friend. ...

But I do already..! You just can't see my legs; I play drums.

Kyev is twinned with Edinburgh. A natural 'home' for this..?

I'm not looking to sell, just lend you what you need until you get contact with Smoothhound, or get sorted permanently, if it helps you. All I'd need is a PM with your home address and I'll post a Tx. You can keep it for as long as it's useful to you. No need for complications such as payments and stuff. Over to you...

Incidentally, this 👆 explains very aptly the origins of ...

So... It's working at less than 'optimum', then..? The question remains : Do you need a quick replacement urgently..? I could pop one into the post if you're desperate, with a big gig coming up.

Yes; I think that the concept of Limiting appied much more in the Bad Old Analogue Tape days, when saturation was a potential problem, and in the Bad Old Days of 8-bit Digital, where any clipping resulted in horrific distortion. With modern 24-bit stuff, there's (to me...) no need to raise levels above the dreaded Noise Floor, as there is (to me...) none there. I record, and treat, at much lower levels than in the Dark Ages, so I'm always well away from any limiter's trigger point. When 'Normalising' stems, I aim for -1db, and never need to increase beyond that. It's been a very long time since I suffered clipping of any sort. That's just me, of course; those 'pushing the envelope' may well need such devices. No, I'm not looking at @Leonard Smalls (although sometimes I wonder ...).

Their site seems pretty well up-to-date. Holidays, maybe..? If you're stuck, I have two of 'em; do you need an urgent 'quick fix'..?

For 'boot-camp', I poured meths onto a pair of socks, and wore them for a day or so before a trek. No funny looks, as most of my comrades did the same.

I'm very wary of Loudness in general, and brick-walling even more so (except, of course, 'Unhalfbricking'..!). Possibly a result of the genres I'm most familiar with (no 'Disco' and very little 'EDM'...); rather more airy-fairy flutes and bongos for me, so... Still, if it's Good, it's Good.

A few minutes, once or twice a day, in the week before a gig should help. No smoking whilst doing it. If you put the stuff in an old medicine bottle, you can pour it back from the dish your finger tips are in, and re-use the same, until it evaporates too much and you refill the little bottle.

Potential for a huge Rabbit hole down which to bolt, but an excellent concept. Thanks for sharing; I'll don a parachute and jump in when re-doing my old tapes. Good Stuff.

I have been doing the exact same process, bringing reel-to-reel tapes from over half a century ago of bands I played with, rehearsing, into the digital age, playing them into Reaper for preservation and, if possible, treatment. These, too, are stereo mixes for the most part (some mono...), so nothing can be done on the 'stem' level. The frequency analyser, along with just listening, gives some clue as to what can be done, but there's also a lot that just cannot. My unwelcome suggestion would be similar to that posted previously above; that's to say: know when to stop. Once into the upper ranges, no distinction can be usefully made between Vox, keys, guitars, cymbals, noise... and pursuing perfection becomes a hunt for the Dahu, or Chimera. If it's as good as it gets, it is sometimes (often...) as good as it gets, and that's all. There are moments when a doctor has to decide when to pull the plug on a terminally-ill patient. That moment will be retarded as long as possible, but, eventually, the time of passing will be pronounced and a sheet pulled over the departed. It's sad, but that's Life. Just as an anecdote, and no more cheerful, I had all my weeks of painstaking transfers of tapes on an external USB Teradisk. One day : nothing. The disk was dead. I even sent the disk to the specialists, who could, for a very hefty fee, recover info from dead media. To no avail. I signed up to pay in case of success; they tried, but failed to recover this disk. All, then has been lost, and I must dig out again my crumbling tapes and start again. Lesson..? Back-up, then back-up the back-up, if the stuff is precious. Digital media are fickle, and go 'Poof..!' when they choose to, not when you would like them to. Good luck with your audio archaeology; hope this helps in some way. Douglas