All Activity

What I remember from back in the days when we were using floppy disks is any continuous controller data would quickly run out of room on the disks.. You had to thin out the data manually. I was very disappointed when I bought my GR50 midi guitar that it was next to impossible to record the midi due to the constant pitch bending that was recorded. But 100MB sounds like a small project to me? That shouldn’t take more than a few seconds to open?

I bought a new TV. I didn't want to, Netflix made me. I'd had a 10-year-old receiver in the bedroom, not a "smart" TV. I accessed the Netflix client through a DVD player. Then one day Netflix refused to load, telling me my device was too old. Even the big TV in the living room, which was a proper "smart" model, abruptly stopped working with Netflix. Unacceptable. I don't have cable, so Netflix is my sole video entertainment. Fortunately, this frustration happened to coincide with Black Friday and I was able to score a replacement TV for only $129. We'll see how long Netflix allows me to use it. Oh, I considered some musical purchases as well, but Spectrasonics had already claimed my soft synth budget with Omnisphere 3.

I see! Ok, so that makes sense. So, I guess segmenting every single verse beat that repeats in the song wasn't a great idea? Lol. Noted. Thanks for the timely reply, @Amberwolf! This definitely helps, and I'll just have to adjust my workflow to only audition the different drum fills instead and then bounce everything to clip when finished.

This is an interesting subject, I have a comparable problem. I use Sonar since a very long time and since a few weeks I use Sonar. Cakewalk. I have been using DX plugins like Sonitus Delay and Sonitus reverbs for a long time, just because I like them very well. When I use the plugin manager I can assign them to a .pgl file and they stay there. However when I select the relevant .pgl file they don't show up. Funny enough some other DX files do like Sonitus Surround. It becomes even more strange. When I open an old project where I used these DX plugins then they are available and work as they should. So how's that????

Only two things for me Upgrade to latest version of komplete (basically to upgrade my Kontakt ) and Slate Trigger 2

Del Shamnon - Runaway

The Runaways - Cherry Bomb

I had 17 updates listed: The vast majority of these have the following change in their Release Notes: ## ADDED NICNT file for optimized Native Access experience. With a couple of other updates for specific plugins: Form V 1.1.2 Changes Missing content after updating from 1.0.1. Mikro Prism V1.1.0 NKS compatibility Reaktor Factory Selection R2 V1.0.1 Browser previews for Komplete Kontrol and Maschine Also Kontour and Razor have no Release Notes available.

Those hussies at A|A|S tempted me with an offer to fill out my collection of their synths for $99. This got me Multiphonics CV-3, Lounge Lizard EP-5, String Studio VS-3, and Strum GS-2. That was too much for me to resist. My favorite maker of soft synths and now I have everything they make save for a handful of soundpacks. After messing with them for a week or so....I have mixed feelings. Especially about Multiphonics. I'm not much into the patch cord-y visual metaphor but I also can't really think of a better way to go about that sort of thing. The biggest complaint I have is that the default preset melts the CPU on any computer in my house. Oddly, most of the other presets play fine and nothing in any of the soundpacks does. Is it their way of filtering out buyers whose systems aren't up to running it? In the past with hoggy A|A|S patches I could reduce the number of voices and they'd settle down. I haven't had that problem since I partsed up my most recent computer, with its 10 physical cores, etc. So far, no matter what I throw at this "outdated" system, it's handled it without breaking a sweat. My problem with Multiphonics is that there's no obvious way I can find to reduce the number of voices. There's also no way I could find to turn off reverb except for patching around it. None of the FX modules has a simple bypass button on it, in order to switch a module out I have to go through the hassle of re-routing cables. Yeah, verisimilitude, but how far do they need to go with that? The unexpected delight with Multiphonics is the standalone FX plug-in. This lets you easily process other audio using a collection of Multiphonics' effects modules. They're patched together in the same fashion as the synth, with virtual patch cables. And just the stock patches sound GREAT. I guess maybe the sound generation part of Multiphonics is too simple compared to the sonic delights of their other modeling synths. They're modeling deliberately limited analog hardware modules, so no surprise that I find that the sound isn't what I've come to expect from A|A|S. Lounge Lizard is Lounge Lizard, now it has a "reed" mode, the better to model Wurlitzer type pianos with. I seem to prefer my EP's modeled rather than sampled, and Lounge Lizard is the best I've heard. String Studio sounds great, but it still has the older look to the UI. I imagine that someday I will be paying for a version that looks like Chromaphone. Strum GS-2 retains the older look. It's still my favorite fake guitar. I love all of those cool articulations like hammer ons and string scrapes and harmonics. While I love love love the way that A|A|S' products sound, I have a BIG complaint, and it's about something that's especially a pain given how many of their products I have. Chromaphone is the only one that lets you mark a preset as "favorite." With 5 synths and 2 FX, the same sound engine in all of them (proven by how Player can run any patch from any product), this makes it needlessly difficult to recall what sounds I thought were niiiiiice when I was browsing through the thousands of them I have access to. They obviously know that people want the feature, they put it in Chromaphone. The second complaint is that the UI's on their synths are so dissimilar, and needlessly so. I'm not talking about the panels for designing sounds so much as I am the way that presets are browsed, settings discovered, and so forth. I don't think it's that I'm spoiled by MeldaProduction's one-UI-fits-all approach. Each synth UI looks like it could have been designed at a different company. I don't need the products to look as similar as MeldaProduction, but from a single manufacturer I would like them to at least be a little similar. But the preset browsers on each of them are different from each other. Settings are found in different places and look different once you figure out how to open them. Still, I think the purchase was well worth it. I probably paid at least $75 each for Chromaphone and Ultra Analog, so a hundy to get the other 4 is great. Best sounding virtual instruments in the business, IMO.

UVI Sonic Bundle Upgrading EW Hollywood Bundle Sonarworks Soundid VoiceAi W.A Products Ultimate MIDI Bundle 4+ Must Have Tools Bundle 3 UAD upgrade to Luna Pro+Signature Edition V3 Softube Harmonics Analog Saturation Processor PA bx_refinement V3+ WUNDERLICH

Really minimal purchases this year, and I have quite a large budget. I think most stuff is absurdly overpriced, even on sale. 15-20 years ago I'd spend $300 on a plugin (UAD), or $1500 on an orchestral library (LASS, Symphobia, EWQL orchestra, etc.). There was minimal competition, and you had to pay a lot for the best. Now I will hesitate on a plugin over $50, or a library over $250. Some of the prices I saw this year are just comical considering the level of competition. I get an email offering a Composer Cloud renewal for $100 - so the entire East West catalog for a year for $100, and Spitfire is still trying to charge $300-$500 for solitary (and old) libraries. So I can have 5 years of Composer Cloud for the cost of Albion ONE - which I own, but is hugely dated sounding now. Oeksound is still trying to charge $200 for Soothe2. Kalifornia Dynamic charging $200 for Alkane. Fab Filter still trying to charge $170 for Pro-G gate. Tone Projects charging $250 for Michelangelo EQ. Like what? I'm grandfathered into the highest PA subscription for $150 a year, get 200 plugins to use, and get to pick 10 of them to own in that year. Many of which directly compete with these "premium" plugins. Who on earth would spend $200 on Soothe2 in 2025 considering the superior, and cheaper competition? Who would spend $300 on Pro Q 4 / Pro C 2, when for less you could get a PA subscription and get to 10 to own, like, Kirchhoff EQ & Cenozoix compressor, which are arguably superior to FF, and have another 200 plugins to demo for a year. The only company I occasionally bite the bullet on is Orchestral Tools, because the quality is often unmatched. But this year, I just decided to not buy almost anything. Had about $4000 in products in my "want" list. Spent $500, mostly on updating a few things. I suspect 2026 is going to a bloodbath in this industry leading to some sales. Not that I want to benefit of other people misery! Blah.

I remember when I took the time to get each advent calendar sample pack individually only to learn that later you were able to download them all together as one big bundle. https://www.ghosthack.de/free_sample_packs/ultimate-freebie-collection

I'm also spending less than usual, but still got my eye on a few more things. So far I got... FabFilter Pro-Q 4 upgrade (to keep my Total Bundle up to date) Unify 2 upgrade (thanks Skippy!) D16 Drumazon 2 upgrade GForce VSM IV upgrade GForce impOSCar3 upgrade Spacewalk

This is the icon for Offset Mode

I wonder why f-hole Les Pauls aren't more popular? They have some pretty cool tones in em. Plus theyre lighter weight.

As always, I bought more than I had planned: Cubase Pro 15 (upgrade) SpectraLayers Pro 12 (crossgrade) AAS Multiphonics CV-3 (crossgrade) Roland EARTH Electric Piano Lifetime Key Klevgrand Elpiano A few Toontrack MIDI packs Oh, and a larger SSD on my laptop, so I can keep hoarding more stuff I don't really need.

If Jack and Meg White had had a son...

This is setting up a yamaha FC-7 foot controller connected to a PCR800 to control the WAH effect in IKI Multimedia's Amplitube 5 Max. As long as your foot controller generates CC events, the principle should be the same. Of course the WAH plugin you use needs to support MIDI learn.

This is the same behavior that I'm seeing.

My brother's apple stuff has an eq on the output built into the OS. I don't know where he changes the settings for that, but there is almost certainly one built into yours, too, ifyou look in your audio settings or wherever else apple might have hidden that. This would help you flatten the output of the iphone and not have to do anyting to the audio before that.

Don't send them to a bus. Change the output of the track to that bus. (presumably right now they all go to yoru hardware out)

What is the process you are using unsuccessfully, step by step? This may help us help you figure out what's missing from your recipe.

My previous post says how to enter it with a key in my ancient version; you'd need to either test it or find it in your keybindings for your version. There is also a menu option somehwere but I don't know where that is in the modern version. Offset is what it says on the tin. It gives you a second version of the control (gain, volume, whatever) to provide you a way to offset the entire automation you've already set or created without having to alter the actual automation. For specifics on the modern version's offset mode you'll probably want to look up offset in the help.

It's not a jump, they just dropped the stage out from under.... Everybody else is wearing velcro shoes.

Shift will constrain either vertical or horizontal movement, depending on which axis the user drags on first. Is it possible that due to mouse sensitivity or whatever that the clips are being knocked a bit to the left or right before being dragged downward?