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Why I quit teaching beginning Bass...

Not good to play around with minors ??

Compared to Bapu's age, just about everyone is Am though. ?

And we've witnessed how well that worked out for the similarly "technologically superior" Commodore Amiga.?? I don't think Reaper is headed in that direction, though! Really? No reason, not even the disparity in hardware cost for a "lower end of beginner" between a good used Windows system and a good used Mac? I'm asking because I don't know what usable used Macs go for these days. I do know that I can get Windows systems with plenty of life left in them for next to nothing. It will be a system that some gamer got tired of, or some manager in an office thinks isn't a big enough status symbol, but it will have plenty of power to run Cakewalk. Moreso with strategic upgrades like RAM and SSD. A friend of mine just picked up a retired Dell office desktop with an i5 in it that I know will run Cakewalk really well for his uses, he paid $50 for it. And he hasn't added any RAM or an SSD or a special graphics card yet. I think of Macs as fine beginner computers for when mom and dad are still paying the bills, less so when the young person themselves is paying for the computer, the rent, the food, the utilities, etc. Never had the silver spoon, so it was always homebuilt computers and Microsoft (and Digital Research!) operating systems. Now I also have a Mac, which is very nice. I agree with you that people get too feisty and tribal about their consumer preferences, but I think that is hard-coded into us as humans. For some reason, we feel better when people agree with us about how things should be done. But there's more (or less) to it than that. It used to be a vital argument whether Motorola microprocessors or Intel ones were "better," as if it somehow mattered which one was buried deep within the computer, running the OS. Now Motorola is out of the microprocessor game and the argument is forgotten. If you were to ask me what DAW software to buy anyone under the age of 30 these days, I would have to go with Ableton Live. At least the ones I see and talk to, that's kinda all they want to know about. Discussions such as this one usually ignore the most critical question, which is "for what kind of music production?" And then everyone jumps in assuming it's the kind of music they mostly do. For MIDI? Audio? Loop construction? Live performance? Hardware control? Live mixing? Until you know the answers to those questions, it's like discussing "what's the best saw?" without knowing what is to be cut with it. Yet on we go. "I'd like to see you connect 12 vintage synthesizers to GarageBand and send them all sysx commands on different channels. Now observe as SonarLab and my mighty CAL script forces them into submission!" "Reaper is too difficult to use, therefore discouraging young people from wanting to produce music!" "FL Studio is too easy to use, therefore discouraging young people from producing music that I recognize as music!" "Pro Tools is still the only DAW to bother with if you're opening a serious professional studio." "Who the HELL is opening 'serious professional studios' these days? Is Avid selling like 10 licenses per year, then? People use the programs to make music."

Interesting stuff (with apologies for his use of the 'N' word): * Nickelback ?

Ducbar Preview 2: I redesigned Waveform cache window. Now it shows green, yellow or red bar depending on the fill level of the cache. Things you can do in Waveform cache window: - Set cache size [MB] - Change cache folder location - Clear cache or - Clear cache but leave recent files intact. This is one of my personal favorite features in Duckbar as I handle lots of audio files and cache gets filled with thousands of files weekly. If cache folder size is larger than the limit then Cakewalk / SONAR fails to create any new waveform previews. Cakewalk does not warn this in any way but Duckbar is always aware of the cache fill level and notifies user if it's getting too full.

The only CbB specific add-on is the Theme Editor. It is necessary if you plan on modifying themes. Otherwise, everything else is included with Platinum.

I think the CbB DAW will stay free too. Hopefully Meng and company will start to sell RapturePro and prochannel modules again

Depends on the bar... I mean, even at one drink per bar, it's going to take some time! ?

SO disappointed. ? Thought I was going to get the Gidget collection for free.

If i remember correctly, V-vocal was not a VST or DX, so you cannot do a custom install of an older version of Sonar and install it in a newer version. It was integrated into the old version. FYI: Melodyne that is included is far far far better than Rolands V-vocal But to get all the other plugins (VST and Dx), all you need is the version of sonar you plan to use installed first and then do custom install for the older ones that include the plugins you want

I would prefer a nice aged Cognac ?

CATS?

Steven, my best stuff comp wise, is Waves, Melda, and IK. That's all I have to really compare. IOW, no Softube, UA, Slate. But I think IK knocked this one out the park! They have some really good gems in that Tracks line, and this is one of them. Give it a try. They have a demo. You can get the free Tracks Custom Shop and try stuff for 14 days I think.

This is a much better Mix than I listened too of the the other track Michael, I must be hearing a remix as I am not hearing the lack of bass or kick here. There is a little light clipping in a few places and you are exceeding the -14 LUFS I have attached a screen grab with Span and Youlean Loudness meter in Soundforge Pro 12 all those little red lines in the Youlean meter are indications of clipping.

I think for professionals, the days of "I use X DAW" are over. Now it's "I use X, Y, Z" DAWs, and this is the world into which newbies will be introduced in the years ahead. CbB will become part of their arsenal of tools. As to current market penetration, the CbB thing happened only a little over a year ago. It's not surprising that there will be more mentions of programs that are one or even two decades old. They're established, and also, for a long time the Mac was king of the hill. That's been changing to where people are more accepting of running Windows - although like many people, I'm a bi-platform kinda guy (even though overall, I greatly prefer Windows). For example...nothing does the "parse any audio and create a Tempo track" like CbB does. Nothing does the polyphonic Harmonic Editing or Scratchpad things that Studio One does. Nothing has as stable an audio engine, or handles loop-based music, as well as Ableton Live. Nothing has a suite of plug-ins as good as Reason. And, if you collaborate with major studios, nothing is as ubiquitous as Pro Tools...which is why I use ALL these programs in my day-to-day work. I also use Cubase from time to time for its "special sauces," and DP's excellent amp sims. The reason I switched to Sonar back In 2000 was because at the time, I was bouncing back and forth between Cubase (good MIDI and hard disk recording) and Acid (only thing that could handle loops). When Sonar came along, I could do everything in one program, and I used it for commercial classical music projects, narration, video soundtracks, songwriting, loop library development, and rock/EDM projects. As long as DAWs went through a period of trying to be more like each other and adopt each other's features, then all I really needed was one program (although I used Studio One for mastering and Live for live performance). But now, DAWs have particular personalities and user bases, and are going off in more specialized directions. This is great - it's like if the only guitar that you had was a solid-body electric, but then you were introduced to a semi-hollow body, an acoustic, a Dobro, and a 12-string. All of a sudden, your options were multiplied...sure, you had to learn some different playing techniques, but they had more similarities than differences. I gave a seminar about mixing at a university last week, and showed the tempo track extraction feature in CbB and some of the mixing features, as well as the Harmonic Editing in Studio One and the Reason instruments. With CbB being free, I'd bet that a lot of the attendees went home and downloaded it so they could use some of the CbB-exclusive features I mentioned. Probably some of them looked seriously at adding Studio One to their Logic or Pro Tools-based world (or even switching), while others started thinking about rewiring Live or Reason into their DAW of choice. If that's indeed the way things are going, then CbB is in a good position because Bandlab bought an essentially fully-formed program for what I assume was a very reasonable price. It will become part of what people do, and for those who have really good chemistry with it, it will become their primary DAW. Different people have different needs, and there will always be some people for whom a particular DAW will be the right fit. I think it's also important to remember that culturally, Asian companies often take a longer-term view. Consider that many of the CbB updates have been about stability. It's smart not to put a huge push on something until you know it's going to make a good impression on first-time users. The last person I turned on to the free CbB download (who uses both Windows and Mac) hit it off immediately, and is no longer using Logic. It's all good.

Audacity is my go to when I'm finished a project. Exports to mp3 without a hitch. Also great to normalize the finished song. But that's just me. I'm an old coot who worships anything that doesn't take a lot of thinking to get the job done. ? /OM

It is a little bit fishy that it says 36 voters grading it as a very good product. When you search for those voters you can't find them. The place where you grade the product is empty.

And Bapu will tell you it's not G you should be playing on your bass, but Am! ?

Thanks. Actually yesterday I did install Drum Replacer - what a nifty tool. I was able to use it to identify the kicks and snare and create a new midi track and use TTS-1 drum kit to reinforce those. I'm finishing up a new mix of the song, I'll post it here later.

@Zo I see you made this video for both of these-

I guess I would now qualify as a Reaper fanatic since the Great Panic of November of 2017. That being said we still and will always use either SONAR or Cakewalk at work. For what we do, nothing can beat its workflow. I have gotten very good with Reaper and been able to get its workflow (for my needs) close to that of Cakewalk, but never a perfect match to where there a few things that require an extra click or workaround. As to the whether or not Cakewalk is gaining ground, it reminded me of when our company merged with a larger broadcast company. Corporate did a survey of the producers in each market for everyone's software of choice. Cakewalk (then Sonar) was barely mentioned. I was surprised how many producers chose Pro Tools, especially given that Cakewalk is far more expedient when doing projects that need to be competed quickly. We're not exactly doing the type of work that would even warrant Pro Tools......simply put, it's overkill for what we need. Some of it is what your familiar with. I deal with another broadcast company that will be ending their relationship with Adobe due to the license fees for Audition. I told their people about Cakewalk and it being free yet they chose to switch to Reaper and hired me to create a workspace and theme to make it mimic Audition in single track mode. I think they would have been better off learning Cakewalk, but they wanted to stick with what they knew. Personally I have used or owned Pro Tools, Samplitude, Studio One, Ableton, Tracktion, Reason (used to teach it) and even an LE version of Cubase. Currently I use Reaper at home for all my projects, its stability is a huge factor but that's another thread. But I always come back to Cakewalk at some point for other work. Again for workflow and I love the ease of use of the Pro Channel.

Yeah, but it's been around for ages so the technology is pretty old. They have updated it since the original version to include more mics, but AFAIK the technology behind it hasn't changed much. I've no idea how it would compare to something like the Slate VMS, but it would depend largely on your source mic. I'd love to give it a try, but at around £100 it's not something I'd take a punt on (although they do have a trial version I guess). Also, Antares only gives 1 iLok authorisation per license. https://www.pluginboutique.com/products/487

No harm in asking around here, @T on Y I think you would need to specify exactly what you want in terms of scale, BPM, instrument and some recording specs (bit rate/frequency). Even better would be to provide a backing track so that someone can play over it. I'm curious, though, why doesn't Bandlab work for you?

Double clicking a MIDI track clip header (top of clip) opens it.

Marc helped me swap one that I already had. He was quick to respond and great to deal with.

MeldaProduction has announced the 16th round of the Eternal Madness Discount 2019, offering 50% off 4 plugins every week. This deal starts on Monday, April 15th. Deal of the week: MAutoVolume Price: €25 €49 MRhythmizer Price: €25 €49 MDynamicEq Price: €35 €69 MXXXCore Price: €50 €99 Note: If you happen to be new to Melda plugins, you can use someone's referral code for an additional 20% discount off whatever you're buying. Here's my referral code: MELDA1548575 (Feel free to use it, or use a friend's because Melda gives them 10% credit too!) Plus get 10 credits free for signing up to Melda newsletter!** **thanks to @Royal Yaksman for pointing this out!

Did you see any ebola quarantine stuff while you were there? I liked that scary hornbill at the end. Overall, those bird pics were simply amazing!!! cheers, -Tom

Does adjusting Time+ slider on the inspector for the instrument MIDI tab or MIDI track help (lower slider pointed to by Q)? Image source: http://www.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Inspectors.3.html#1220713

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The way they "give it away" is by adding a coupon to your cart that sets the price to 0. But the rewards program is also coupon based and you can only use one coupon at a time. So you have a choice of free AAS bundle or reward, but not both.

Now S.L.I.P., to stay on topic there should probably be booze in that image! ?

PS: I checked my spam folder just in case. Some hot chick wants to show me some racy pictures, and some nice man over in Nigeria wants to transfer millions to my bank account, but all I'm really interested in is the Turmoil download. Grem: I got separate emails containing the SNs for the freebies, then logged into AAS and clicked a link that said Register New Products, or something like that. I copied and pasted the SNs into that page. Then the freebies immediately appeared in my list of registered products, and I was able to DL/install them.

I'd be all over it if it also included Acid Pro.

Or go Ewok! had to considering the Star Wars convention is going on now in my neck of the woods

Bluebird was my choice also. I used it on my voice when I could sing and classical guitar for solo pieces.

Really?? Awesome! I'm definitely going to have to try this one out again. First time it was too CPU intensive for me.

Ok....they issued a refund and stated that there were not any more Serial #'s left to try...

Important public announcement; Coffee is for drinking when you can change things that needing changing 80 proof is for drinking when you can't carry on

I wonder if privately they look at each other and go "Eww!"

That's what centuries of carefully orchestrated inbreeding does for you.

You can ask Marc from AAS to swap them.

Keith, you question seems misdirect in this forum. Perhaps you can get a better response by posting in the Q&A forum under the "Cakewalk by Bandlab" forum: https://discuss.cakewalk.com/index.php?/forum/12-qa/ Kind regards, tecknot

The Cakewalk PRV is great! I prefer it over the stock REAPER PRV also.

Did XLN seriously just try to sell us a collated version of our DAW browsers for 180 smackeroonies?... I mean sure I'll pay that, but only once I see an official promise to deliver a complementary reach around in the licensing for the product.

I dislike writing negative reviews, but I thought this one was important, so I submitted it to Sweetwater, where I bought the keyboard. Sweetwater has apparently decided not to publish it. I wonder whether there were other negative reviews before mine and Sweetwater chose not to post those either. If so, they might have saved me from a regrettable purchase. _________________________________________ Not a keyboard for players I won't address most of the Komplete Kontrol's features; my only subject here is playability. The keys are heavy, and each key increases significantly in stiffness from front to back. Imagine playing G#m7, root position, right hand, 1-2-3-5. There's virtually no way to play these notes very softly (pianissimo) as a block chord. On the three black keys the fingers sit at or near the front, but on the white key the finger is near the back, so to push it down requires much more pressure. Unless one has amazing control of one's fingers, the four keys won't hit at the same time. To play this keyboard well with speed and delicacy is difficult if not impossible. Other reviewers liken the Komplete Kontrol's feel to that of an acoustic. Their comments helped persuade me to buy it. I've played acoustics for almost fifty years. Any acoustic that feels like this keyboard is in need of major repair. A better comparison is to a $400 Casio Privia I bought and returned several years ago. That Privia felt just the same. The Komplete Kontrol S88 MK2 is a serious device and undoubtedly manufactured with care, but if you're primarily a player rather than a producer, and you're looking for a keyboard that plays like an acoustic, consider the Yamahas priced around $500. I've decided to keep mine because I don't want to be someone who for the second time buys a keyboard and sends it back.

A few things about normalization... Normalization doesn't affect the sound or the dynamics. It's no different from turning up the level. If you plan to add limiting or compression, turning up the processor's input level, or lowering its threshold, is functionally equivalent to normalizing the input signal to a higher value. If you normalize to 0, you run the risk of intersample distortion due to the D/A converter's smoothing process. A signal that registers as "0" on a meter that's reading sample values could actually be creating a signal that's 3 dB over the available headroom after conversion...so there's distortion even though the meter says there isn't. True Peak meter readings take this into account. If you're doing an album project, ultimately it's up to your ears to decide if the levels are balanced. One way to do that is to normalize all the cuts in the album to something under 0 True Peak initially. Decide which one is softest, and reduce the levels of the other one to match it. However, that's not a particularly scientific approach, and requires a lot of trial and error to get the right balance. Level is less of an issue these days than it was with the CD. I recommend checking out my article What Is LUFS, and Why Should I Care? It addresses level-matching, loudness, the R128 standard, and how to deal with optimum level-setting in the post-CD era.

These days I'm using Slate VMS because it indulges my indecision neurosis ad infinitum, but previously I had been using an ancient CAD Equitek that still sounds great. And if I might, here is a short story about vocals and mics: YEARS ago I was in an honest to God pro studio playing guitar for a friend of mine who was making a record. The engineer was using a U47 for the vocal and the singer sounded phenomenal. After we got done we had a few minutes left so I asked if I could hear myself through the mic. Now this is the U47, The Holy Grail. THE Mic to conqueror all mics. This is the ONE everyone craves today. This is the one every clone strives to be. Originals sell for zillions of dollars. Well, I belted out a line and I sounded terrible! Now, I don't sound great to begin with, but through the 47 it was even worse!! The engineer, who was a good guy, went to the mic locker and grabbed a tiny little SC made by TEAC(!) and, voila, instantly I sounded like a singer! Moral: we all have different voices and you gotta try each mic for yourself!