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I recently participated in a fun discussion with Principal PM @Pete Brown from Microsoft and Vin Curigliano of AAVIM Technology, who has been doing DAW benchmarking for a long time. We talked about a bunch of stuff, including the history of Cakewalk from the early years to now, our intersections with Microsoft’s technology over the last 30 years and lots of technical details about DAW development. You can listen to the podcast here. If you are a DAW geek and get through listening to all two hours of it, you win a prize. We’ll give you Cakewalk. Oh wait... ?

It’s like you get two!

I have to say, as a longtime Cakewalk user (since 1986) I have noticed the return to the philosophy of Cakewalk's earlier days. Companies that are under pressure to release a new paid version every 9-12 months tend to throw in a lot of half-baked fluff just so Marketing can add to its features matrix and thus justify charging for the same product over and over. Noel and company, thanks to Meng's patronage, are now free to concentrate on just making the product better. Hats off to Meng, and happy to hear Noel giving the guy the credit he deserves.

$25.99 at Guitar Center Daily Pick https://www.guitarcenter.com/Daily-Pick.gc

I’m totally stealing this from someone else but this vague email from izotope makes me sub-spicious

I really hate that when I buy a door, I have to also buy a lock. Why should it cost me money just because some people are thieves? And that lock seriously slows me down going in and out of my house. If I lose my key, then what? I'm locked out! (I'll see myself out now)

Yeah WASABI was an open low latency spec for writing drivers for Windows to get around the latency problem with MME (caused by Windows KMixer latency). Martin Puryear from Microsoft was involved in that project and it ended up being replaced by the WDM kernel streaming API (KS) which was released publicly. Another very cool open source project that never took off was a plugin specification called GMPI (Generalized Music Plugin Interface). There was a discussion group with many leading plugin and DAW developers participating and it went pretty far with the specification. I still have the posts from that mailing list archived. Its a shame that it didn’t take off since it was ahead of its time and more sophisticated than VST - besides being vetted by industry pros. Both those projects were led by Ron Kuper who pioneered the first Pro Audio version of Cakewalk.

Designer was after my time there. I left in 97 to start working with Cakewalk on Pro audio 7. Corel had some interesting if schizophrenic products. I peripherally worked on a product called The Art of Playboy, that was a multimedia CD-ROM (remember those?) showcasing art and illustration from the Playboy catalog. I helped the project lead to build a simple playlist engine to trigger the background music to the slides and my wife and I composed and sequenced the music in CWPA 3. That was a fun little side project. Wav file playback was still not an option in those days due to storage limits and spotty spotty support on off the shelf PC’s.

GMPI (Generalized Music Plugin Interface) , say what ? Were you holding out on us, LOL ? Very interesting Noel, and much in the same vein as the ASIO v WASABI v WASAPI v WaveRT discussion , or we could even throw in BETA v VHS, but thats a whole other rabbit hole

Bagged this for $25 with $75 coupon.

Not only that, but the C-64 had optional assembler software that could be used to write MIDI stuff (e.g., real time I/O code, on-the-fly data processing, MIDI file manipulation, etc.). It even had vector tables to tap into OS routines. For example, by re-routing the easy to use 60-times-per-second interrupt vector, incoming MIDI data could be very efficiently obtained, stored in a 256 byte circular buffer using zero-page write/read pointers, processed using arrays of pointers to various stages of the data processing routines, and then sent out. Predating Roli and MPE, the C-64 could channelize incoming single-channel midi data and process it, and send it out as repurposed multi-channel data. Not bad considering this was the mid-to-late 1980s using a 64kb computer with a 1 MHz (+/-) processor!!

I think it does. I’m using 2x 1920x1200 monitors that are old but color corrected for my photography work. I am far from happy with this configuration. I am working on building a new system and would like only one monitor. I am totally lost with this decision since the monitor must be: 1) color calibrated for photography; 2) 4k resolution for photography and my need to see more Cakewalk real estate; 3) about 32” (on this point I may be wrong) because my eyes need something bigger; 4) decent in the text size category. So, this is important.

Indeed we were in favor of open standards rather than being tethered by any particular vendors direction that's why we went with WDM KS at the time.

I'm still running an iLok1 along with the e-Licenser...I've never had any trouble at all. I've had trouble with machine activations and various server problems but nothing with the dongles. Sure they can break if you treat your stuff like a 2 year old Bill

My Limelight Has Been Restored Kenny

Maybe by now you've seen the YouTube ad for Drip, which is a plug-in effect that from what I could discern, you're supposed to indiscriminately throw on all audio sources in order to make them sound perfect just by clicking on one of the obtusely named buttons. The results sound easily accomplished with various combinations of delay, EQ, and phasing. I mention this because I think it's in sharp contrast to something I tried out this evening. I decided to give some plug-ins a try whose "demo" videos I'd watched, videos that contained no identifiable audio demonstrating them, just a lot of images from old educational films and cheap graphics, kinda reminded me of stuff I'd go see at underground video festivals in the 80's. Kinda put me off a bit at first, not that I mind that aesthetic at all, but if you want me to buy an audio effect, I want to have some idea of what it does before I throw down my money. Curiosity finally got the better of me and I went to their site and discovered that their stuff is available with a 2 week timed demo, so I wouldn't have to pay upfront to find out how they actually sounded. I first tried the one that seemed the most obscure (and therefore intriguing), called Dumpster Fire. It fulfills a similar "need" to Drip, you put it on a track after you've run out of inspiration. In the case of Dumpster Fire, though, I think the idea is that you want to destroy whatever track(s) you've been working on. There's no way to describe exactly what it does, but if you like Glitchmachines' stuff (to say I "like" their stuff would be a sad understatement) or Unfiltered Audio's Sandman, Fault, SpecOps, and BYOME, you'll find yourself in friendly, familiar, yet unsettling territory. GM and UA's stuff is incredibly versatile, has zillions of knobs and virtual patch cables, lets you ruin audio in just about any way you want. As much as I love their stuff, I find myself using the randomizers a lot at this point because, well, to be honest, I may never fully understand all the controls. Dumpster Fire, on the other hand has 5 knobs, none of which are labeled with text until you click on a small icon of the old CBS "eye" logo, and even then the labels include "generates hellscapes" and "scales the Aether pitch spread." You know, for when you're thinking that your snare could use some Aether pitch spread to make it sit in the mix. What I'm getting at is that Dumpster Fire is like a Glitchmachines or Unfiltered Audio effect with only 5 knobs but more immediate gratification. There are no presets, you throw this thing on and start turning knobs. If you share the same diseased sense of humor and delight in audio torquing as I, you will be grinning like a fool (specifically, me) once you hear what this thing does. I chose the Van Halen-y "80's Metal - A" backing track that comes with Cakewalk. Just a few degrees of knob turning made it sound like a dixieland band being buried in lava. On my own material, it sounded great (meaning giggly insane) on the drum bus. There is no LFO, so once you dial in a sound, it can be kind of static, but it really shines when you make some automation lanes and doodle with the Draw tool. All 5 knobs plus bypass are available for automating. There is no mix control, which seems right somehow. I also tried their Backmask effect, which, once you get past the truly bizarre graphics and control labeling (again, clicking on a button gets better explanations), is a very versatile backwards effect. I already have one, Initial Audio's Reverse, which to be fair is designed to be simple and succeeds at that. However if I had experienced Backmask first I wouldn't have gone for Initial Reverse. Backmask has 3 different triggers, note value, mS, or level, which is crazy useful and not something I've seen in a reversing effect. I could probably figure out how to do the level-triggered backward thing using MRhythmizer, but it would take me hours. It also has an automatable freeze function. The big surprise was that neither of these FX do any bitcrushing that I can discern. From the graphics and advertising, I expected them to ruin audio in a distortion-y way, at least partially, but they do it in a smooth way, which is somehow more subversive and unsettling and delightful. They probably don't do anything in the end that I couldn't already do with my vast collection of sound deformers, but they do it in a quick and fun way. I've emphasized the chuckles I got from Dumpster Fire, but it could be seriously good for ambient ethereal drone-y sound design. So much fun at $20 each. Since Plugin Boutique carries them now, the purchase qualifies for whatever monthly giveaway they have going, and I hear that they may put them on sale from time to time. https://freakshowindustries.com/ (they have an unusual feature with their pricing, to discourage piracy they will let you "steal" the products at a variety of discounts depending on which theft option you choose, but their stuff has so much play value that there is really no need. These crazy people deserve to be rewarded and encouraged).

I just need to learn to stop worrying and love the bomb year 2040: "do you guys have the link for the hack to install Ozone 9 in a Windows 55 machine?"

exactly, there's not improvising in the purchase-download-install-forget cycle it's all well-oiled machine

Also, only during this weekend ESL-PADS is free. This offer is valid until March 7, 2021 at 23:59 UTC + 1 https://gumroad.com/l/yndjW/cqu3rk0?fbclid=IwAR3L42ocOMNTaSB1Ui0-XgCLPAvmDCDKYaX_viSJ7ahJ0TPa-UoQeNd2Xjs

Preset demo (SoundCloud): https://electroniksoundlab.com/esl-pads/

Who has time to improvise if all I do is chase deals, watch reviews/tutorials, install, upgrade, and start cycle over

See the Big red button? or Ctrl +R This will arm or unarm all tracks- I see a few people got this right. Tip of the day- Open the help module and point the mouse at everything in your workspace and take some time to learn what everything does you'll be amazed at how many cool features are right under your nose,,, like the big red button. If you don't have the mix module shown in my screen shot, add it by right clicking the control bar. Modules.

Use Waves v12 plug-ins?

Starts at 4:30

Not sure if ok to post here or not, but Vin just uploaded the podcast with @Noel Borthwickfrom Cakewalk. We talk history of Cakewalk, and how Noel got into music development (it's an interesting genesis). https://dawbench.libsyn.com/episode-09-daw-evolution-ii-cakewalk-past-present-future Pete

I think more and more vendors will try this model... NI recently asked me to respond to a survey that had a couple of questions about subscription models it makes sense from a developer's perspective (more stable revenue), I just don't want to pay endlessly... if you have a sub, no matter how many plugins it contains, the point will come when you've paid too much per plugin and still don't own s*** I think Netflix is different because if I stop paying, I'm not going to be stuck with a bunch of projects halfway done

It will work fine, assuming the device still works. Might want to blow out the MIDI connector first. But you'll have no issues with USB 1.1.

My MK-249C works quite well in CbB under Windows 10. Sometimes I use the usb midi port, but I also have the 5-pin DIN output routed into a multi port midi interface. I have other keyboards too [including an MK-449C and an MK-461C] that I will connect as needed, but for several years the MK-249C has had a permanent space in front of my PC's keyboard. Not sure if it is USB1.1, though. I will look for the documentation.

Replay is up, I def is coming soon after the video processes. Thanks for sharing this to the group. It was a lot of fun going through and discovering these pianos. UVI is interesting as they sometimes source their material from various engineers. This struck me a few times, one with one of the uprights that was recorded on location in South Africa. An interesting library bundle for sure.

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When you add real or virtual MIDI devices, the MIDI inputs and outputs often get rearranged. Best to add them and leave them connected even if you don't "select" and use them. This can also happen if you delete soft synths.

Got it two years ago as a gift (from Mackie). Never tried. Any quality bass sounds ?

Been enjoying Collective for quite some time now. Half off is a sweet deal for those add-ons.

hey. actually, there is an ARM [UnArm] ALL TRACKS button just press it before (to disarm all), before selecting a new one. very useful when you're recording different midi tracks while composing You can activate this button with the module "Mix"

it emulates this one:

It's still alive and well over here at my house!!

Copyright violation has nothing to do with whether or not you make (or attempt to make) money off it. A copyright claim on YouTube only means that someone claims to own the copyright. That in itself is not that big a deal.

MGATE-MULTI $9.99 $0.00 A versatile multiband gate plugin with intuitive visual display controls, that offers up to six bands of separation. https://mogwaiaudiotools.com.au/product/mgate-multi/

No problems at all with my M-Audio projectmix, TC Electronic Konnekt 24 and Alesis IO 26...on the latest Win 10... 20H2

Collin - I am running an older Echo card Original Layla 24/96 No problems with 1909 18363.1379. I would probably get better latency with a newer card LOL! Thanks to Pete Brown for the great video and tweak guide and for checking in here!

Every one of your songs I've listened to has been a great experience. You've got a great voice. Doubling the guitar with synths was a super nice touch; I'm not listening with headphones so a bit harder to detect any harshness in higher ranges but even if they're there, it's a fine piece. I was really hoping the synth would help ride the song out and I wasn't disappointed!

RexRed . . . total respect for this one. the vocal talent really shines through on this one, again . . . you keep cranking out such great songs ! Ultimate love song, hope she appreciates it. On my headphones I hear a bit of over sibilance in a few places, but it never sounds too brash, nothing serious, and doesn't take away from the delivery of the song. I only say this to help in your mix . . . because this one really deserves to be "perfect"

You're stepping out of the country vein here. Nice for a change. I listened on consumer stereo and it sounded really good.

another great recording job and song.jack c.

Here is the original article from 2017 where we evaluated game mode.

Nice, but if I was mixing this, would just take the vocal back down into the mix just a tad, it is good but the vocal feels/sounds little to forward and detached from the rest of the backing. This is obviously just the furry opinion of a furry alien from a galaxy far far far away. I did enjoy as is though.

IIRC Ozone 8 was in 2.1 and v3 upgraded it to O9

Only way I think the Pro Sub would make sense, is if it does have RX Advanced and I would need it for a project. then I might just get it for a month or two.

Got this email "Get early access to Music Production Suite Pro" Try for free. It will be interesting to see what (if any) improvements there are in the "Pro" versions. I already have MPS3 and didn't see the point of upgrading to V4 given that it would give me a reverb and some minor additions to Nectar. In my case it is safe to argue that If I can't get a decent sound using everything I already have, I probably have no discernible talent in mixing and mastering. I can understand why they want to go with subscriptions and minor updates as I don't think there any many major toys they could add. Perhaps Composer Assistant that writes the music for you, Lyric Assistant that writes the words for you, Playing Assistant that plays the instruments for you and Recording Assistant which records everything for you.?

I believe it's best practice to check the record button in the Mix module of the Control Panel before engaging a track to record. If it is lit red that means a track(s) somewhere is/are engaged for recording. Either click on it or press Ctrl + R to disengage so as to ensure no tracks are armed for recording, then arm the track you want to record. What you suggest is to have the option for tracks to behave the way Take Lanes behave, ie. you cannot arm multiple Take Lanes of a track for recording. Seeing that Take Lanes are programmed to work in this way I see no reason why Tracks couldn't have the option to do the same. Maybe right click the Record button in the Mix Module to choose between 'Record' and 'Exclusive' recording modes? When in Exclusive mode the button turns into something similar to the Exclusive Solo button? However I'm so used to checking the Mix Module that I probably wouldn't use it. I record in mono, stereo and at times multiple tracks at once. Cheers.