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I swear, this group is like an AA meeting where everyone brings alcohol to the meetings.

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...

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.

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!

ah those were the days... my quake nick was "an old lady" so it would hilariously say "YorGoinToDie was fragged by an old lady"

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 once was banned by an online music forum.

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

Tony LaRussa helped me load my truck after a gig. We ended up talking baseball for quite a while. It's like a religion for him. Great guy. See, I said "after a gig" so it's a musical high water mark!

Hopefully this can make my miserable speakers sound like NS10s

I got this and the new GK Bass amp for $34.98 with my $75 voucher.

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.

This song is just for fun. No social observations or pontificating. The subject of this song finally got the girl of his dreams to say that she loves him. Now he wonders if he should commit to her. His friends think that she is crazy for loving him. Hmmm!?! It was my intent to create a small venue, open jam type type of feel to this song. You might find that the style is rather loose (understatement not intended). Anyway, I hope you get a bit of a giggle from this attempt. As always comments, crit.'s, suggestions, etc. will be appreciated. Thanks! WHAT WAS I THINKIN'? https://www.soundclick.com/artist/default.cfm?bandid=963481

I was just about to post this Larry, Darn you for posting before me time after time....RATS!! 😖

Get another brand Audio interface.

The "transfer method" (IOW using Melodyne as a regular plug-in) copies the clip into the Melodyne environment, then Melodyne processes and plays back the processed clip. The clip shown in the track is no longer used. Anything added before the Melodyne plug-in will not have any effect because the audio is originating from the Melodyne instance using the copy it made during the transfer process. Render Melodyne to restore the regular signal flow. Using Melodyne as a Region FX does not use the transfer process. This is what ARA (Audio Random Access) is all about. It reads and processes data very early in the regular DAW signal flow.

Was the leader named Milli or Vanilli? 🤔

*with one raised eyebrow* Fascinating. As I was downloading it through S1 it said the file size was 149MB. I just looked at the actual downloaded file and it says something very different. I'm still shocked at how fast I got it.

I stopped playing publicly in the 90s due to severe tendinitis -- it was a deal killer when you're a drummer. I still continued to write music, as I did since I was like 4 years old, but after my DAW PC's main hard drive took a dive around a decade ago and I lost a ton of music I never backed up, I stopped. I figured, what's the point. I don't play out anymore. My tendinitis stops me from playing drums or keyboards well anymore -- I'd sometimes play for a few minutes, have excruciating pain and then stop completely. Then last year, my teenage son asked me for a gaming PC for Christmas and he said he wanted to learn to play keyboards. So I started showing him how to play Beatles, Coldplay, etc. and realized that I could play keyboards for up to an hour without pain and now I'm awaiting a friend building me a custom PC for my next DAW so I can go back to recording music that nobody really cares to hear, with musical chops gone after decades of no practice, and yet I can't stop my desire to keep making music. I take it that it is common among this group, but then I hear some of the music people are sharing -- like maybe it was you, Bapu who recently shared a Steely Dan cover with amusing forum-related lyrics and it was really good. I think my reality is that my playing skills are now very pedestrian, where I was once a talented musician and I'm nowhere near my hypercritical standards, and yet I still am compelled to record anyway! Maybe I'm my worst critic, but I'm not wrong.

Significant attenuation noticeably affects the sound. Of those mentioned above, the Suhr doesn't have attenuation abilities beyond ~3dB I was strictly interested in going cab-free (noise-free recording)... so attenuation wasn't a factor.

@Starship Krupa @mettelus I went the CLEAN install in the end as i always do. I was having trouble with each clone application inc Samsungs .. some sort of error on old source drive ( which only came up after hours at the end of the samsung software process 7 failed ) that would have meant doing a complete chkdsk/r .. which being a 2TB drive would have taken almost the time a clean install would have. Once i am happy with that clean install I intend formatting that old drive now in an ext usb caddy and use it for backups etc. The EVO 870 drive is a flier .. the difference is night and day. Its turned my Dell Inspiron 17" laptop ( 16GB ram ) into a system arguably faster than many new systems i set up for clients. Great investment so far TBH in all my years trying cloning etc I have NEVER had a positive no quible experience with it, always some stupid error like above poping up after hours of letting the clone happen.

Thank you Tom. 😎

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

I really like deese F-monkeys. This cool tune has a 60's vibe- kinda Kinks to my ears. Great bassline , Bapps- I love the way it throbs. Cheers, Bert

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

Nice- thanks be to Bakers.!

Now you're talkin douglas. Way to go!

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.

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.

I couldn't resist... The Lion Sleeps Tonight (Wimoweh) - The Tokens with one of the worst alto sax solos in rock music - but it works. Notes ♫