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I always have it open. I set my Browser to start where I left off, and it's always open... EZ PEEZEE

We created this forum, and its sub-forums, to allow for more targeted discussions and help forum members more easily find specific groups of content. We hope you find it useful! We may fine-tune things here and there to better suit actual usage, our main objective being to preserve and highlight quality information. While The Coffee House has been home to off-topic music discussion to date, we hope having more targeted forums will help promote content and discussions that are more easily accessible to new and existing members alike. As always, feedback is welcome. Thanks!

Did that once, led me to a dark alley where deals are exchanged before they see day of light...

I'm wondering about the validity of performing such a test with a YouTube video, given that we know YT never presents audio without modification. Using an oscillator plugin such as MOscillator (one of the freebies in the Melda fee pack) might be more trustworthy. I think we obsess over hearing range because a) it's easily measurable, and b) it's something we all fear losing with age. The question that never gets asked: how much high end do you need to hear in order to create a nice-sounding mix? If your kneejerk response is "as close to 20 KHz as possible", that does not reflect reality. If you listen to MP3s, the upper end has been lopped off (IIRC, at 18 KHz). Same for other lossy compression algorithms. If you listen to FM radio, it's limited to 15 KHz. Your guitar amp likely tops out at around 12 KHz. Hammond organs often occupy the upper end of a mix, but a classic Leslie horn only goes up to about 10 KHz. Truth is, we listen to band-limited audio all the time and rarely notice. The real question is where musical frequencies live. Quick, what's the fundamental frequency of the highest note on a piano? How about a piccolo? Think either one goes above 12 KHz? Think again. Sure, there are overtones that are multiples of the fundamental that can run up into the hearing range of bats. But humans can't hear them. But can you tell when they're not there? Try this experiment. Play the highest note on the highest virtual instrument you have on hand. Pipe organ, for example. Nothing goes higher than a pipe organ, AFAIK. Insert SPAN and note where the fundamental frequency is, and where its harmonics lie. Now add a low-pass filter and start cutting those harmonics until you can distinguish a tonal difference. Find some six-year-olds and repeat the experiment with them. When mixing, by far the most important frequencies are the ones everyone can hear with ease, between ~1KHz and ~5KHz. This is why band-limited speakers have long been used by mix engineers; if it sounds good on speakers that don't go much above 8-10 KHz or below 100 Hz, it'll sound good on a full-range system.

Remember when they just had one deal at a time? And then they had two deals at a time? The next time I looked, they had EIGHT deals going. I could usually resist GAS with one or two deals. Sometime they were selling something I already had or didn't want, so I could sigh a sigh of relief for a week or two. That money was safely set aside to be spent on something from Plugin Boutique or somewhere else. But it's much harder for me not to spend $$$ with 8 deals going all the time. Particularly when they are around $10. Ten bucks is the price point for me to buy something I really don't need. How do you deal with so many deals from Audio Plugin Deals?

I loved 8.5.3. Best version ever. (I could post a screenshot of someone stating X1 pre-many-many-fixes was the bestest ?)

Depends on who you are.

I'm hoping they will see the light and have ten for $10 each. I am okay if some of the $10 offers are up to $14.95. I'm not sure if I'm ready to take the leap for $29.99 being my $10 yet. But give me time.

Great echo chamber here folks. No OP in sight!

There’s no fence anymore to be on.

Page 303? Acid? It's got to be Hardfloor: Hardfloor - Make Acid Great Again

I found his email address on his soundcloud page. soundcloud.com/anydaylong He is a "mind open guy" and he would surely appreciate a message from you!

Thanks to Bandlab for adding additional forum sections. Having a Content section for the new Articulation Maps, Arranger Templates and ProChannel Presets and then moving UI Themes all in one place makes for a one stop resource center. Love it. Then renaming the off topic section to General Music Discussion so the Coffee House is grouped with Computer Systems, Gear and Production Techniques should work well. All the additional sections have been requested by forum members. Thanks for listening! I'm sure it will not take long for all the new sections to become beehives of activity.

That's because iLok allows installation of that version over newer versions. Steinberg's eLCC will error out if you try to install an older version over a newer version, and will update the older version with a newer version if you install in the proper order. iLok's software doesn't do that, so you end up with all sorts of issues when vendors bundle the older PACE installers into their plug-in/application installer, and don't update the installers when PACE does. That was the issue with the iLok software from AIR and SONiVOX. Also, PACE uses a different type of driver architecture for their iLok software, while eLCC installs as userland software. This is why you have a driver installation dialog when first installing the iLok software, but nothing like that with the Steinberg eLCC. This conspiracy about software running deep into your OS has never applied to eLCC, or been associated with Steinberg's hardware copy protection. Unrelatable situations. The issues with performance affected most USB dongle solutions many years ago because the tech was simply slower and less mature. Slower USB flash devices. Slower USB Ports. Slower computers, etc. This hasn't been an issue for a long time. iLok, eLicenser, Codemeter, etc. These have all been performant for years. Most issues people run into, these days, have to do with people not keeping the software up to date - or activation server issues during mad rush/promotional periods/product release or update times.... All of this can and does happen to products that have never used hardware copy protection, since that's an issue with server resources.

Siri, follow Larry.

Have also had the Boss TAE. You can tweak the TAE's Reactive-Load (bottom and top) for the specific amp. The only one that allows this. Again, you can achieve good/great sounds. I didn't care for the onboard SS power-amp. Can't go wrong too far wrong with any of the above.

My first articulation map is for the Amplesound M II and M II Lite virtual instruments. The more I read and understand the Amplesound user manual the better I realize this Articulation Map may be a work in progress. All feedback positive and negative is appreciated! The M II is a virtual Martin acoustic guitar. The attached comparison chart details some of the differences between the two instruments. VSTi download link Amplesound M II.artmap Comparison_AGM_vs_AGML.pdf

I use a bookmark..... I get to these deals in one click.....

Hopefully this can make my miserable speakers sound like NS10s

I have over 400 blank cd's.

This is a drum synth, not a drum sampler - though it does have two sampler slots. Comparing this to NI Battery is like comparing DrumSynth 500 to Strike 2. D16's 909 is a Synthesized recreation of a specific drum kit, so a bit different. DrumSynth 500 is basically comparable to the Drum Synths in Native Instruments Maschine software. I think Falcon 2 has Drum Synths, as well. They actually added this plug-in to the Akai MPC 2.9 software to compete with Maschine 2 in that area ? I wouldn't be surprised if it was developed for this purpose (and released as a plug-in to further monetize it).It's worth $9.99. Not sure it's worth the MSRP, though. You can get Maschine 2 for less than $149 (via bundle with an M32 Keyboard) and that's the price point of sound design tools like Steinberg Backbone, which are simply better pickups if you're into sound design for Drums (and other stuff). Buy at $50 or less. Skip at $50 or more and invest in something else, IMO. Skip if you already have the MPC 2 Software, since you're likely doing your beat making there if you use Cakewalk as a main DAW, anyways.

Two Notes Captor X, Suhr Reactive Load IR or Universal Audio OX? and Why?

Hi fine folks Here's a new original song that is a true story of a trip to Glastonbury Festival many years ago. Lyrics below link Our Lost Weekend Written and performed by Staypress V1 Went down to Glasto back in the day Tried to hitchhike but got lost on the way Got a lift in a stinking van A woman with incense and a hairy man Heavy conversations of mushroom and weed Tongues were loose and minds were freed It took all day to arrive at the site At least we got some daylight Pre-chorus It rained for three days Like it seems to always There's mud and marijuana and music if you wanna Chorus 1 It was our lost weekend With our hippy friends It was our lost weekend I thought it'd never end V2 Popped white lightning - we were led astray Paranoia set in - we were floating away Saw a three legged dog - it was very trippy Danced like a windmill and fell out with the hippy Pre-chorus It rained for three days Like it seems to always There's mud and marijuana and music if you wanna Chorus 2 It was our lost weekend With our hallucogenic friend It was our lost weekend I thought it'd never end Middle bit So the 'frights' got too much and we made our way home Walked for miles in what seemed like a raging cyclone Our minds, not our own, we'd gone round the bend We'd left them on our lost weekend Chorus 3 It was our lost weekend Our lost weekend Our lost weekend It was our lost weekend

A "rock" video. Scenes from Valley of Fire in Nevada, White Pockets and Colorado Buttes in AZ. Thanks for listening/commenting. -Bjorn

Here's a dedicated real quick one. Someday the full song may make the cut .. mark https://soundcloud.com/user-810058643/bayou-bill-reprise

This is a trailer for an evil clown movie: https://davidsprouse.bandcamp.com/track/the-shadow

I can hear at at least 12,500 ft. but that's not important right now I had a nightmare about being hospitalized and the doctor telling me I had a very very contragious disease! His exact words were " We’ve got the results back from your tests, and we’ve found you have an extremely nasty virus that is extremely contagious!” I asked him what he was going to do for treatment and he said "we’re going to put you on a diet of pizzas, pancakes, and pita bread.” I then asked him “Will that cure me?” The doctor replied, “No…but it’s the only food we can get under the door.”

Hello All, This is a deal offered through the Walmart site for only $399.99, not sure how long this will last. Purchase here via Walmart Read the description Main Features: KRK RP5 Rokit G4 5" Active Studio Monitors with DSP driven Room Tuning with 25 Visual Graphic EQ Settings, Custom-Designed Class-D Power Amplifier with Built-in Limiter, and Matching Woofer and Tweeter made with Kevlar.KRK RP5 Rokit G4 5" Active Studio Monitors are made with matching drivers made with Kevlar ensures the same sonic integrity across all frequency and minimizes listening fatigue . The On-Stage WS7500 Series Wood Workstation feature an Ergonomic Z-Frame Constructed from Steel, a Laminated Surfaces, Slide-out Keyboard Tray, and Steel Tubing. The On-Stage WS7500 Series Wood Workstation is a reliable wooden workstation for all you're at-home gear necessities By decoupling studio monitors from their workspace, the ASP3001 isolates the true tone and frequency range of playback recordingsIncluded Components: 1 pair KRK RP5 Rokit G4 5" Active Studio Monitors1 On-Stage WS7500 Series Wood Workstation1 pair On-Stage ASP3001 Small Foam Speaker Platforms About the KRK RP5 Rokit G4 5" Active Studio Monitors: The 5" KRK Rokit RP5 Generation 4 ("G4") professional monitor takes music and sound creativity to an outstanding industry-level. Building on over 30 years of monitor innovation and countless developmental partnerships with successful award-winning music and sound productions, the KRK RP5 Rokit G4 5" Active Studio Monitor has been scientifically re-engineered from the ground up for the way modern artists work—in all genres and environments. A matching driver design ensures the same sonic integrity on every single frequency and minimizes listening-fatigue, while offering an incredibly balanced listening experience. Following the technology and legacy of the unrivaled KRK Expose E8, the Rokit G4 proprietary drivers feature a superbly rigid and high-tensile strength-to-weight ratio material known for high-end sound reproduction. At the core, a powerful yet efficient custom Class-D power amplifier drives the speakers evenly and more efficiently at reduced operating temperatures and improves audio integrity. A custom built-in Brick-wall Limiter automatically engages at maximum amp-level to maintain a balanced sound, protect the system, and deliver improved and wider dynamics.Get your KRK Studio Monitors with Foam Isolation Pads and a Wooden Desk Package today at the guaranteed lowest price from Sam Ash with our 45-day return and 60-day price protection policy.KRK Studio Monitors with Foam Isolation Pads and a Wooden Desk Package

The PC is worthless without an Operating System. This retort is as weak as weak can be. The entire purpose of a PC is to run computer software. How are you going to use your DAW without it? Well, I guess you can always get an MPC or Maschine+... Nope. This has nothing to do with the dongle. It had to do with the activation servers being completely overwhelmed when the Cubase 11 release happened - particularly with the way upgrades work. When you upgrade a Cubase License your older license is removed and the new license replaces it. If the servers are swamped, it can time out in the middle of this happening, resulting in an orphaned license. 98.6% of people got this fixed automatically when the world stopped spamming the check button and the servers weren't completely swamped. Even people who were not using dongles for products ran into issues, because the dongle had nothing to do with it. Don't think you even understand what happened there. PreSonus and other companies have had server issues in the past when there was a mad rush to get their products after a release. This is why many companies do staged rollouts for digital products. You can say that Steinberg's Activation servers are shite... but again, this has nothing at all to do with the dongle. Even people using the soft elicenser software ran into the same issue - this is why they tend to shut down their entire store when this happens ? This can happen to any company, given the right circumstances. Servers don't have unlimited resources, and bad things happened when they are overwhelmed. If you can afford Cubase a $20 dongle is not a problem, and Amazon is everywhere. I don't think many people in third world countries are buying $550 DAWs. Ignorable "issue," really. Even faster is unplugging the dongle and plugging it into the other computer, and having it just work immediately without constantly having to move activations between PC <-> Cloud <-> PC. Even my Steinberg software that doesn't require a dongle is on a the dongle, for this very reason. No, when I lose one I will get another and use the warranty service to get a new activation code, but I won't lose access to the software because I have another. You're really relying on the worse case scenarios and then positing them as invariants... Interesting. But I don't lose them, because I have an attachment that plugs into the Kensington lock slot on my laptop, so the dongle is attached to it. It doesn't move until I unlock and detach it. But hey, not everyone thinks about these things... Maybe someone will use a fence cutter and steal it, one day? Nope. A lot of the older iLok software only gives you one activation because they worked on that assumption. Most new iLok titles give you 2-3. Even Pro Tools gives you 2-3 activations. Older items like the Exponential Audio plugins only give you 1. But they're usually on sale for almost nothing, anyways. I have tons of iLok'd software, and what you say is definitely inaccurate.

Thanks, it's fun playing around with old midi files.

Thanks for the widening tip. I do check in mono cause it is easy to overdo stuff with so many wonderful friend options. Never had allergies till 5 years ago and yes they seem to get worse ! Working on an instrumental now so far no more singing ha. Thanks for listening and enjoy your vicks !

I've owned all of them. Suhr has the best Reactive-Load... but the IRs are limited to 1024-Samples (short). Captor X allows you to run a pair of simultaneous Cab IRs. The Reactive-Load isn't as nice as the Suhr... but the IRs can be up to four times the length (plus you can run two simultaneously). OX Reactive-Load isn't as good as the Suhr. Cab models aren't IRs... they're slightly more dynamic models. UA Plate Reverb, Dynamics, and EQ are familiar to those who've used UAD/Apollo. You really can't make a bad decision from any of the three. IME, None is totally heads and shoulders above the others. You can get good/great sounds out of any of the three. I still have an OX and Captor X

Bridges Fallen from SPAN, my third album release within 10 months during this coronavirus pandemic. Simple tune, simple video. Enjoy & stay safe..

Yes, thanks for the YT video comment too.

Kenny PS I like the new layout of the forums

Nice- thanks be to Bakers.!

Do I have sport a beehive hairdo to go to those forums?

Shame that you have to go subscription to have access to this features , really a shame ... do they think the whole World have the same culture when it comle to ownership and monetary transaction ?

Thank You, Thank You, Thank You

Jimi Hendrix The Wind Cries Mary..

I am not very well informed about British copyright law, but to the extent it is similar to the US: This is an interesting problem that is not always due to a false claim. When a work is in the public domain because the author died centuries ago, it does not preclude a contemporary composer from creating and copyrighting a new work based on the original. What he must show, in order to claim his own copyright for the derivative work, is that what he has created based on the historic version is sufficiently original that it qualifies. The bar for that originality is not particularly high. An exact copy or performance of an ancient text would almost certainly not meet the test, or the mere transposition to another key. The creation of a new arrangement or orchestration would give the arranger a copyright on the arrangement, but not on the original song. Most commonly this becomes an issue when a contemporary "folk singer" records an old song. Rarely do such performances exactly follow some easily identifiable composition from an old text. There may be additional verses, melodic changes, updating of the language etc. That potentially creates a new copyright for the altered version. Covers of the new version thus may require a performance license, and changes that incorporate significant aspects of the new version may need a license to create derivative works of that new version. Publishers of the new version are likely to want to be paid if a subsequent version is substantially similar to what they have copyrighted. So unless you found your copy of the original song with a publication date old enough to put it in the public domain, and your rendition does not take any new material from a more recent version, you may find your work accused of infringement. An interesting conundrum, to which I have not found a convincing answer, is what happens when a collector just records someone else performing a folk song, and publishes a transcription of the performance. The phonorecord is clearly copyrighted since it is a contemporary work, although the ownership of those rights would depend on the agreement with the performer. Usually the transcriber is at pains to say that he is NOT the author or the work. After all it is being presented as a folk song. By a similar argument, the performer typically claims not to have written the old song , but to have heard it from another performer in the past--making him a collector in his own right. The publisher or author of a book of such transcriptions will often as not claim copyright to the songs therein, although it looks like his only contribution is to the arrangement and production of the various works--the book but not the songs it includes. It is hard for me to see how anyone in this scenario is an author who has a legitimate right to claim infringement of the composition. Of course it costs very little for a copyright troll to send a cease and desist letter or demand payment, and most people doing folk music are in a poor position to defend an expensive infringement lawsuit.

You'd qualify for the crossgrade which, combined with the 39.99 sale price in this promotion would be less than the full MODO DRUM. I'll put in a request for a special offer to those who participated in this promotion who would like to upgrade (similar to what our team has been able to offer those who purchased AmpliTube 5 but then realized they really wanted AT5 MAX).

iD Driver Update We made a mistake! The link to the new iD Mac Drivers in yesterday's email was incorrect. This has now been resolved and updated with the correct version - Version 4.1.12. We're sorry to anyone who may have had trouble updating or may have updated to the incorrect version of the drivers. Please check your current version and make sure it matches V. 4.1.12 to ensure you're getting the best out of your iD interface. Bug Fixes: • No External Talkback Signal on MacOS • Registration Screen cut-off on 11" Macbook Air • Registration Window - "Don't Show This Again" not always working (iD4)" https://audient.com/products/

You even see that in instructional videos - "Use these five super-duper pro compressor settings for voice!" Which of course, have very little to do with YOUR voice. I can see someone using Pro Tools if their main gig is transferring audio/video files among multiple studios, but just about any other program is better as a songwriting or compositional tool. So people who follow the herd likely won't end up with what they really need. I think Cakewalk's biggest strength is that it does a lot of things well, so you can go deep if you want, or just hang out on the surface. The definition of "professional" means "relating to or connected with a profession." If any people use Cakewalk to make money on any level, then it's professional software. Case closed.

Indeed while its not unique to us, its particularly bad in our industry because many folks have a herd mentality to follow by recommendation rather than by exploring needs. We have had our share of problems in the past so some flak is deserved, but I still see quotes of completely out of date information from decades ago that has long since been addressed. Products with a legacy as old as Cakewalk are bound to have baggage that a newer program won’t have (although the new program will also have bugs, just different) The “professional” tag is downright snobbery perpetrated by biases, whether it be Mac vs PC or other factors that equate cost vs value. We’ve even had people who said we weren’t professional because for the longest time there was no copy protection. The free aspect is also a factor since free can be associated mistakenly with unsupported freeware. The bottom line is user base demographics have been changing. Its not all about how many esoteric features you have anymore but how usable and inviting the product is and new users today have different expectations now than they did 10 years ago.

Sure thing. Refer to the currently selected FX plugin in the SS. Thanks!

It's amazing what comes out of your head .. I liked it , but not sure if I enjoyed it.

Trump's in a movie? This is really cool David - really gets the vibe across

I enjoy that game too. I had someone once call to tell me that my Windows was compromised claiming to be from Microsoft. I said - great I work for Microsoft too. They promptly hung up ?