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We had a filmteam and they made it on the spot. Church and hotel is in Virac, Catanduanes, Philippines. And yes, I am sooo happy. PS! Had to log in with Google because I have a new phone and didn't have old login at hand. https://youtu.be/z0QBpk6ZU58

I picked up the Simon Phillips packs - but regret it sounds are reasonably decent but I forget have clumsy groove agent is compared to other drum samplers (superior 3). The downloaded clunky and the interface is pretty poor. Edrum/hihat support is circa 1997. Spend that money on S3 packs ....or (a buggy) BFD3 expansion just my opinion obvs but file under “things I will never actually use”

If a woman attempts to cut off a man’s ***** but is unsuccessful could she be changed with a misdaweiner

Hi folks! Recording yourself in a comfortable environment with good acoustics is crucial - but how can you control your DAW? In this video I show how to control Cakewalk by Bandlab using an Android phone! WATCH HERE: https://youtu.be/6ndfakrS6Gw

Nice! I got Bass Fingers, Bass Slapper, Clavinet, Electric 200 Piano, Electric 88 Piano, Flow Motion FM Synth and OVox Vocal ReSynthesis for $66 (about £51)! Even less than I thought it would be 👍

Got Ovox, Clavinet, Bass fingers and Morphoder for a total of 30$ at Everyplugin!

Sure, is - just select everything you played on the track, then go to Clips > Bounce to Clip(s) (this is in the menu above the track pane, not the main menu at the top of the screen). And that's it

This is my aggressive, all-brass nonette "Brassilia". (three trumpets, three 'bones, two Fr. horns and one tuba.) Larry Graham Alexander

As @cclarry always says: everyplugin.com for ANYTHING waves related, including upgrades etc etc etc you might be very pleasantly surprised worth an email.....just sayin'

It depends on how many, and what kind of vibe you're going for. If it's just a couple, I'd treat them all like a lead vocal - compress, EQ, possibly de-ess and add a little hair with saturation blended in. It's all really to taste. I'd usually go Compression > Saturation > De-esser > EQ, but if it's a particularly "woofy" or bright mic, I'll add an EQ first before the compressor to get rid of the junk I know I won't be using, so it's not affecting how the compressor "hears" it. I'll usually pan each one a little off centre just to give them a little bit of space. On the other hand, if we're talking Queen / Def Leppard kind of layers, the first thing I do is aggressively clean up between any phrases. Those little breaths or lip smacks on the vocals? Multiply that by 50 and suddenly it's super loud and super distracting. Cut it close, crossfade, get it clean. I'll typically separate each harmony part into its own Aux track so if I have, say, 10 layers of vocals singing a particular harmony, I'll run all of those into it's own Harmony 1 sub group Aux track, and I'll pan those fairly wide. I'll repeat that for each harmony part, and then run all of those combined Aux tracks into a Choirs master Aux track. On that, I'd EQ first to remove the crud (there'll be a lot with so many voices), compress, add saturation (being careful not to go too nuts since it's already pretty thick), de-esser (you'll get a lot of sibilance build up) and then an overall EQ for everything. One big tip is to also do a "whisper" track, where I'll dedicate a few layers to whispering the vocal. You'd be surprised what kind of air that adds to the mix. For each of those situations, I'll treat them like a lead vocal with reverb and delay to taste, and I'll usually add some kind of slapback with chorus to fatten it out a little (not too much), each running in sends rather than on the tracks as inserted effects. It's rare but sometimes on the big choir stuff I might add extra chorus or stereo widening effects, if I feel like I'm not getting the size I'm after. A couple additional tips is don't be scared to aggressively high-pass everything. There'll be a lot of stuff you just simply don't hear in context. Adding a little bit of high shelf boost from around 6khz up can also add a nice sheen. If you're finding it's swallowing the lead vocal a little, try dipping the EQ on the choirs around the point where the lead vocal is mostly sitting (say 800hz?). It'll let you keep the loudness of the choirs but give the lead more room to stand out. And finally, if you're planning to do the 60 layers of backing vocal choir thing like I regularly do here, stop and have a word with yourself before you begin. Do you REALLY need this stuff? It's a crazy amount of work that gets old realllly fast when you're doing it! It sounds amazing, but it's not something you want to do "just 'cos"

do you mean service center or native access ? I'm not sure service center is still supported. I ask because I find native access one of the best (the best!) of the downloader manager type things. When they introduced service center many years ago I was a bit hesitant but now i really like it. Only negative for me is all the auto-startup apps it installs without telling you - and you have no real idea what they are for. if you are running service center then definitively try native access

Normalize by its nature is a look-ahead process - in fact it has to look at the whole of the clip before deciding its level. While this doesn't make it impossible to make it a VST, it would add an incredible amount of latency. The easiest workaround for this is to either: 1. Tracks: Make a copy of your track, normalize the copy and archive the original; or 2. Lanes: Flatten your comp, normalize the comp clip and mute the other lanes

I was being a little unfair 😀 - the consoles were $49 last year but as @cclarry and @Piotr point out, if you have a 50 or 75 voucher it’s almost impossible to get a decent deal - the situation is even worse for us in the U.K. as we have to add tax at 20% on top of that not finding them particularly crash prone though ? also if you are gonna buy just one - buy the lindell 80

http://avaruusankat.com/duckbar/

The whole NI Service Center is a major hassle if you have to update libraries. It doesn't remember the install locations while Kontakt does. It makes Waves Central look brilliant.

12 months ago these flash sales were $29 - how times have changed

Here's another of my Cello works, "Lemon Cello" with harpsichord providing backing. Larry Graham Alexander

Oh man! you had your hand full. lol. I do that when I'm in the mood for a lot of work. 🤣🤯

That is exactly what clip gain automation is for.

However Z3TA+2 did not, as it is VSTi only. The original z3ta+ could be an fx insert because it was also supplied as a separate VST fx plugin. "c:\program files\Cakewalk\vstplugins\z3ta+\z3ta+_fx2.dll". The VSTi version was not capable of that. Surge Synth is only supplied as an instrument plugin [VST, AU, LV2]. EDIT: I did run across this article outlining some ways to use surge as an effect by feeding audio to it via sidechain. Unfortunately this is only compatible with a few DAWs [Ableton, Ardour/Harrison, Cubase Pro, Logic X, Reaper], but Cakewalk is not one of them. https://github.com/surge-synthesizer/surge-synthesizer.github.io/wiki/Using-Surge-as-an-effect-(and-vocoder) If you are interested in that feature you may want to take a look at SynthMaster 2 or SynthMaster One. They each ship with an effect plugin version.

I believe an apology is in order....

Very cool suggestion about the "whisper" tracks. I'm almost ready to start vocals on a new one , definitely going to try that . Thanks .. mark

Synthesizers and conventional instruments combine in my "Speednik". Larry Graham Alexander

Truth. Every woman I've ever been intimate with was introduced to me via my saxophone. I wouldn't know how to meet a woman any other way. My first gig was when I was in junior high school. I was in the school band but after school I got together with some friends and started a rock band. We were terrible, but everybody was back then. We got a gig playing at a junior high dance. There I was on stage, with my best friends, having the time of my life playing the music we tried so hard to cover, and when I looked up, much to my surprise I noticed that cute girl who wouldn't acknowledge my existence in English class was "making eyes" at me! And at the end of the night they actually paid me for that!!!!!!!!! That's when I said, "This is what I want to do for the rest of my life." After being rejected (4F) by the Air Force I went on the road with a rock band. 2 weeks to a month in a different college town playing singles bars (this was before DJs got the youth market). It was the dawn of the free s-e-x age and before the AIDS age so anything you caught could be cured. So let's say I had a lot of fun. I've been playing music all my adult life and I eventually married another musician. She's the best and we have fun on and off stage. All thanks to my saxophone. Just livin' the dream I guess.

Hi Larry, Great playing as always. Thanks for sharing. Good Job! regards paul

Hi Tom, Sounds great to average listener #3 - nice guitar tones all round + great sense of space. Thanks for sharing. Good Job! regards paul

Fantastic Øyvind. Brilliant video and the color grading was excellent. A memory to cherish forever. God Bless you both in your new life together.

Very nice Bjørn. How to come up with such a composition when you are not Indian? I could never do that... wouldn't know where to start. Well done.

Unless you are going to create or modify a theme, the theme editor is not needed. As mentioned above, copy the theme (user themes are files with a .sth extension) into Cakewalk Content\Cakewalk Themes. By default this path is in the root of C:. Once copied they should appear in the theme drop down in preferences.

The idea for my topic is to skip as much volume riding with automation. My idea would cut the working process in half if this gets introduced. Though it wont eliminate the process of volume automation in general, but with create a far powerful method in getting those gaining levels as close as possible.

That's the way I do it.

I'd like to see a non-destructive normalization function as well. I guess it shouldn't be too hard to calculate the right amount of clip gain increase to set the level curve to the right height...

Hey JohnB . . . yes, I remember that Rodney King LA moment, seems so long ago now, and I really appreciate that your lyrics are so positive. Musically , it swings a lot more as it goes along, nice touch with all the horn parts, a very well detailed arrangement.

I was talking about the waves ... i hope ik will not go convo on everything , the tapes are a pain because they sound great and can t be used that much until you prioritise or bounce .... can t afford to have amplitude and reverb doing the same , i skipped the brian may because of cpu hit , shame so it sounds great ...

Same here. I'll be fine with Melda, IK, and Izotope. Those are also the most license friendly plugins. Also very little confusion updating unlike Waves.

Hey John, The message/story line here is great; the lack of rhymes in most of the verses; its really about the message. Love the drum track, excellent bass line; however (boy I hope I don't have this wrong) it would really "shine" if it was played and not a midi track. I "play" in bass lines on the keyboard a lot, but sometimes I gotta pull the bass down off the wall and play the bass line. Overall, "thumbs up" man, I like it! Tom

I have a background in film making and ran a production house for a while, also a short film group that also made some independent features. The discussion of "the Producer" was always being discussed. Basically, it worked like this, those films that had a Producer attached got finished, those that did not have a Producer attached struggled or failed. In film, the relationship between the Director and Producer is what drives everything. I would think of composition and production representing the Director and the Producer. The composer is the Director, assembling and creating everything and that's where it ends for most people doing music. They then struggle to finish and market their productions and in reality, it's too much work to do both jobs and most people just can't change hats like that. They are different personalities. We came to the conclusion that unless there was both a Director and Producer attached to a film, no-one else was interested in participating, no crew, no actors etc. These days, most DAW oriented musicians are trying to do both jobs and that will never work as well as having a dedicated Producer overseeing your work. If you are serious about your music, you need a dedicated Producer involved, someone who is not you. The Producer's primary roles are to see that everything runs on time, on budget and that the work is finished, polished and marketed.

Bump for Barry!

My product is compost. Is that close enough?

We have been asking for a tempo track for some time now, almost like a markers view that is able to export, import to other projects. For now the work around is to create a project template with blank tracks (which holds all tempo data) and open a new project using this project template.

All Sandboxing does is crash a different process We've experimented with sandboxing - after all bitbridge is exactly that, except it only sandboxes 32 bit plugins. Doing it well is a very complex endeavor and potentially introduces a different set of problems. Workarounds are presently the only way most DAW's make plugins work but it takes cooperation and a willingness to work together between vendors.

As long as the automation time base is set to absolute, then tempo changes won't affect them. As fades are tied to the clips, you need to make sure the clip's time base is set to absolute to make them immune to tempo changes:

There should be no changes in audio quality at all - the audio should be exactly as it was. It just looks zoomed out if the tempo is set to a slower amount.

No doubt the whole issue of alternate note names and MIDI translation needs to be revisited. That said there are options today that may be useful. Today this is done by extending the .Note Names and .Instrument Definitions in master.ins. Here is a discussion about this from a few days ago There is a free third party tool which can convert files containing an .ins formatted .Note Names section into a simple drum map. This allows one to use any existing Windows program capable of writing text files to create a drum map. From http://forum.cakewalk.com/SONAR-Cakewalk-by-BandLab-CbB-Resources-and-Utilities-m3392713.aspx#3472457

All true. And I guess that everybody works differently. Personally though, I found just going through the whole of Groove3's SONAR tutorials was a huge eye opener for me. Even if you only watch the first few minutes of each chapter, you get an idea of what's available, and idea of what tool does what. Then when you have a particular need for something, you know what tools to delve into it deeper. But even with basic operations... for decades I've been using more or less the same methods of editing that I did back in Cakewalk Pro Audio 9... these tutorials showed me a bunch of stuff I didn't know was there, and has radically sped up my workflow.