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I'm sure this is an endlessly requested feature: can we please have Undo apply to mixer knob movements? This is so essential. I know I'm not the only one who slips with their mouse, or accidentally clicks on the wrong channel strip and screws something up in a hard-won mix before they notice that they tweaked the Reverb Send for the Left Overhead instead of the Snare or whatever. And yes, I know how to safeguard against this with mix recall and automatic backups and whatever. I really shouldn't have to. These moves are critical and there is no reason for them to not be Undoable.

Reset overnight. Release the GAS!

Hello ! Be able to use the mono sound card outputs when using external effects. Example: If I use the left output of a stereo pair for a mono external effect, the right output of that same stereo pair can be used for another mono effect. Thank you

See below.....

TAL-NoiseMaker TAL-NoiseMaker is an improved version of TAL-Elek7ro and has a completely new synth engine and a lot of improvements in sound and usability. The synth also includes a small effect section with a reverb, chorus and a simple bit crusher effect. A display shows the knob and slider values. This allows more control over the synth. A ringmodulator and a syncable triangle are also part of this synth. TAL-NoiseMaker includes new filter types as the self resonating 6dB low pass and a notch filter. Its improved amplitude ADSR is very suitable for slow pads as for really fast envelopes. 128 factory presets included, 80 made by Frank "Xenox" Neumann / Particular - Sound CHANGE LOG Version 5.0.2 beta / 28.06.2021 Fresh UI Maintenance UI and Audio Processor. Audio engine is still the same and the plugin is backward compatible. Version 4.7.0 / 05.04.2021 VST3 parameter automation fix. https://tal-software.com/products/tal-noisemaker

@Fleer As the reset code has just been announced, I strongly recommend Lindell TE-100, it is amazing! Make sure you use the oversampling on max when processing / bouncing the final files. ACME opto comp is great beautiful colour (for Vox etc) but TE-100 is special! Just my two cents ?

But first that free bonus library.

That was a good video. And he did make an excellent point about subscription plugins not updating in time and old fashion pay for plugins working. Subscription makes the dev's fat and lazy. Like, I got all this money coming in so I can sluff off and you can't do a damn thing about it. Watch me.

Just starting a thread here to discuss Windows 11 compatibility. While we don't expect to have any issues with Cakewalk running on Win 11 getting your PC running it is a different story You may have read about the announcements that Win 11 only supports PC's with newer processors (Intel 8 gen and higher) and that it requires TPM 2.0 hardware support. In fact many of my PC's fail the upgrade test because I don't have TPM support and my CPU (though quite capable being an core Intel) is an earlier generation. Here is a new blog post from Microsoft where they appear to be potentially dialing back the requirements. I hope the requirements get relaxed because they seem a bit restrictive to only allow systems with TPM 2. I've seen some reports of soft and hard blocks for installation. Will be interesting to see how this evolves.

Ok boyz...headed back to Kentucky to help out with the kids again! I'll try to get in here when I can...until then...take over! Will be back to normal when I get back again!

If Ripple Editing is not working then I would respectfully suggest you're doing something wrong Identify where the project ends, as described earlier Select all In the timeline, drag across where YOU want it to end and the actual end Turn on Ripple Edit Hit delete Turn off Ripple Edit

Chris I used it successfully for solo cello (live recording), other orchestra stuff, vocals and mastering. The filters are excellent the mid bands mind-blowing... you just need to get used to it how it really works... read the manual first to get the grips with it then just listen and turn, on the high band, don't think - just turn that knob... ?

Ohhhh........ When he told me that one day soon he's gonna make me an offer that I can't refuse, I thought it would be something to do with Omnisphere 3.....

Vaccine update?

https://klevgrand.se/bundles

Well, I'm sensitive to topic adherence myself, so I try to make sure to mention something free in every post. ReaFir, various bits of the Melda free bundle, annual freebies from A|A|S, Pluginboutique giveaways, Freakshow Industries' "steal this plug-in." I'm fine with comparing commercial FX to freebies and talking about how we use freeware FX. I think it's helpful to hip freeware searchers to the fact that certain dealers and manufacturers run regular giveaways of payware products, or that commonly used freeware suites can be upgraded for very little money. These developers do a lot of work to provide us with loss leaders to pique interest in their commercial stuff, so I don't think it's off limits to mention their other products. Besides, it keeps the thread near the top.

Nah. Wouldn’t work. Minimum spend $32 to use your $25 voucher. So I got the SPL Vitalizer for now at $9.99 which is, well, pretty, pretty good. Until that $20 voucher gets reset in a few hours.

Rigid Audio's Sodium - 24hr flash sale - under $5 https://rigid-audio.com/?mc_cid=31966f8636&mc_eid=466c6f2b90 RA's new offering Perception is also on sale (same link) for $7

Aaaaand... we're at 50% now ?

I used to watch him because he was kind of funny and interesting, but a usually had some good points. In this one, he makes an excellent point about how devs with subscriptions should be the first to have their software compatible with new hardware releases. He was wrong about Melda however, because they do offer a subscription - or rather, a rent-to-own option, which is 100% better and a more user-centric model than a subscription IMO. I hate subscriptions. Subscriptions are right behind the silliness that is WUP. I just got MPS4 this year after literally years of waiting for sales and buying different plugins to get a manageable upgrade cost - and I really like my Izotope plugins. However, if this is the future for Izotope, they have gotten their last penny from me. I love Studio One as well. But if they decide to go all subscription too, CW by Bandcamp or Reaper, here I come...

Since GearFest is online only this year, be sure to call in to see if there's a better price. Usually in-person you can get a better deal than online during GearFest, even on items already on sale. I just called in and was able to get a discount. Most manufacturers limit the publicly advertised price, but during a big convention like this there are special deals sometimes. (Hopefully next year it will be held in-person again, because it's a great time and it's free to go.)

https://varietyofsound.wordpress.com/2021/06/25/a-brief-update-on-the-future-of-vos-plugins/ Love these vst fx,and use them all the time even though 32bit. But looks like they may get updated to 64bit. Hopefully my fav Baxter Mastering EQ. If you have any of his stuff you will know how good they can be.

A really nice base on a budget is the CoreBass Pear. It's got some really lovely slap-on sounds and body hits that work great as an acoustic percussion instrument too. I've used it for several recent releases. Here's an example. https://open.spotify.com/album/6nqXHwKJjx0ymJ0oB04UBM?si=dat-a5IaTkK87qbVoYK2WA

Well done instrumental music with different parts. Pleasant mood where was a little sixties pop music vibe too. Good job!

Almost a whole page discussing commercial software in a freeware thread.

No, no, no, your critiques are most valuable. It's not possible for me to come up with a "public consumption" theme without feedback. Also, as I get better with Paint.NET, I can touch up things that were, at the time, the best I could come up with. Some of them are experiments anyway. And I can come up with a version for the public that is not the same as the one I use at home. Same with any creative pursuit, one can't please everyone with every aspect. Especially with all of the options and workflows available in Cakewalk. I had made it so that in one mode you couldn't even read clip names. And my poor clip fade lines, barely visible. I'll take another look at the EQ grids; it may have come from my tendency to want to use the same colors wherever possible, which....doesn't always scale. The goal being coherence and consistency. However, as it is said "a foolish consistency is the hobgoblin of small minds." It's a fine line, isn't it, between foolish....and....clever. As for the clip backgrounds, that's part of my idea to use Theme Editor to make the program more usable for myself (and maybe to others). To me, the high-contrast background says "active," while the other ones are "greyed out." I think it's appropriate for a "dark" theme. Tungsten's Clip Pane and Piano Roll have always looked to me like "Mercury with the brightness and contrast turned down." This comes out of frustration with Tungsten: why would unselected clips be higher contrast. I get that if you're used to Mercury-derived themes and having the brightest color be your "active," that setting the darkest color as "active" seems counterintuitive. This one's supposed to be "a dark theme done right" and it might take being a daily user of dark themes for it to make sense. There's a thing that I do where knowing which clips are active and which are not that is highly critical: acoustic drum editing and comping. I have 4 tracks of drums, each take grouped. If I mess up because one or more of the clips wasn't selected (which can happen even with grouped clips), it can louse things up pretty badly. Since I darkened the active clip backgrounds (and went with higher contrast grid lines), I feel more confident about which clips are in what state, and I'm able to concentrate better and work faster, stay in the flow. I guess if there were demand I could do a "vintage" version with Tungstenesque clip backgrounds, but I have no idea whether anyone but me is using my themes. One kid on Facebook said he was using EVA 01 (probably an anime fan). That's the extent of my known user base?.

Oh! I've got that but haven't played with it yet! ?

Hey, thanks for the reminder, LOL! It shouldn't be too bad, I only signed up for 1 guitar, and we are already at 50% off, with 7 days left to go. Will be very nice if we can hit 60%!!!

Another good plugin to destroy a track with is one from our fine friends at A.A.S., Objeq Delay (I got a free promo).

Larry's absence serves as an opportunity to learn to live with our G.A.S.: https://www.guitarworld.com/features/guitar-acquisition-syndrome

Yan, All of my livestreams happen in the Eastern Time Zone. I must have omitted it today, as it would definitely be something I would specify. I have many who are watching in Europe, Spain, etc.. so I know the afternoon streams run late for everyone there, but I am so thankful for the support. All the best!

I enjoyed it! Now I'm off to YT to listen to the live version of "My Name is Ruin". Both versions...studio and live. EDIT: Now TWO live versions!

Just to expand on that a bit for those who may not realize. If you click on a note on the piano at the side it will select all of those notes in the entire track. From that selection you can delete or drag move notes to a different note. This can be super helpful if you want to change a drum sound.

So this livestream was one for the books. Sorry for all of the technical issues, but I was able to get things going and it was a crazy ride for sure. I have updated the link above for the livestream replay. Thanks as always for the support.

So I was able to get TAL-Vocoder to work in less than a minute in Cakewalk. It's very easy. I started a Basic template that includes 1 Audio track and 1 MIDI track. I added an audio clip. Then added TAL-Vocoder to the FX in the Audio track. Selected Enable MIDI Input from the VST menu. Then clicked on the MIDI track. Input Echo automatically turns on when I do that. And done! Now I just play the clip and use the keyboard (I used the virtual keyboard) and pressed a key when I played the track. The clip sounded vocoded.

Aren't you getting something out of that OTS group buy? Absolutely. You're not done yet.

This! Only drum vst I might use that doesn't have multi outputs is SI Drums. And in the past if I wanted to create separate tracks from a full drum track, I would simply copy the track say 4-6 times and then delete unwanted notes from each track in PVR leaving me with 4-6 drum tracks which each contained the parts I wanted. I can do this real fast.

All the tutorials are found on the Tutorials sub forum. https://discuss.cakewalk.com/index.php?/forum/35-tutorials/ But Google is the fastest way to get answers. Example " Cakewalk copy and past clips" Some results= https://www.cakewalk.com/Documentation?product=SONAR X3&language=3&help=Arranging.17.html https://www.youtube.com/watch?v=R1EKnepfyXE https://www.youtube.com/watch?v=bGtfz2YB4sA

Thank you for your answers Indeed, so it could be a problem on google's side or the OAuth callback is not handled properly by the cakewalk auth in that specific case. I will be pretty busy during the next two weeks, but can do some tests or provide specific logs if you can tell me what you need and how to obtain them. I'll PM you my info for the next steps.

Nice job Doug. I like the vocals. The snare sounds full and love the guitar as well. Steve

Neither naïve nor irrational, just prudent. Most of the time, the kick and snare tracks being in stereo is an unintentional mistake, and most of the time the left/right channels are actually identical. So there'll be no tonal difference after conversion. Yes, you do get a volume boost, but that's why I do the mono conversion first, before starting to balance the kit pieces. In the rare instances when a track sounds thin after conversion, that's an indication that it really was recorded in stereo with two or more microphones, and that the engineer did not take phasing into account. Leaving such tracks in stereo because collapsing to mono makes them sound worse just pushes the problem back, as the overall mix will likely have mono compatibility issues. In this scenario, rather than using the "convert to mono" shortcut, split the stereo into two separate mono tracks and either delete one of them or phase-align it. Though such a scenario is fairly rare on drums, it is common with synthesizers that insist on stereo output whether the patch calls for it or not. Like you, I fear degradation and will often leave the track stereo for that reason. However, before making that decision it's helpful to check if the track is really stereo to begin with. Quite often, such a check reveals that the patch isn't stereo at all but just has a widening effect (chorus, reverb or delay) added, in order to make it sound stereophonic. They design patches that way so they'll sound good in isolation, without regard as to how they'll fit into a mix. If, however, the track is truly stereo (e.g. a Leslie, auto-panned pad or acoustic piano) and needs to stay that way, then a true stereo panner (such as Boz's Pan Knob) can save the day.

OK, thanks! I got my freebie but still waiting for my BFD2 replacement. But what I have so far seems to run fine.

Swallowing flies is the secret to awesome vocals?

May your travels be safe and include the coupon code "forum" or "group" at checkout.

Kiloheartst Multipass Snapin for $29 https://www.sweetwater.com/store/detail/kHsMultipass

Does that make Kenny am-bidet-xrous? ?

Impulse Responses: Who Knew? tl;dr: NadIR and The Acoustic IR Database I've learned a lot -- and saved a lot of money -- from @Starship Krupa's Favorite Freeware FX Thread, and from the many contributors to it. I feel a little guilty at taking and never giving here, but I just don't seem to find anything out there that you guys haven't already found and reported (or in some cases, discarded). But here's my story: I have a Gibson J-160E that I bought at a Third Street pawn shop (San Francisco) in 1968. If you saw the movie "A Hard Days Night" you'll know the instrument. It's the acoustic/electric that John Lennon plays in the movie. When reporters later asked him to comment on the Hard Days Night tour he replied (paraphrasing) "It was good, but I lost me jumbo." The J-160E is not a jumbo (sorry John), but it is in fact the guitar that was stolen on that tour. Because of when and where I acquired mine, it's even money that it is, in fact, John's lost guitar. Yes, I know, some guy in San Diego claims he has the actual guitar, and a perfectly legible sales receipt from the Liverpool music store where John and George bought their 2 guitars 60 years ago. But there are enough twists and turns to the story that I will choose to believe that mine is the real one. I really don't think there's any way to know. But the main thing about this guitar is, it sucks. It has a very heavy top, to keep it from resonating too much and feeding back when you plug it in. This makes it a terrible acoustic guitar, because it doesn't resonate much. And as an electric guitar, it plays like an acoustic guitar. Which would be fine if it were a great acoustic, but (see above) it's not. It does have a real pickup on it, which may or may not be a P-90 or a P-100, which would be fine if it were a good electric guitar, but it's not. Still, it's the only acoustic I have, since I have had my own problems over the years with thieves and numbskulls. So whenever I need some acoustic strumming on a track, I dust off the old girl, mess around for a half hour with mic placement, and end up fiddling with chorus and EQ and finally burying it in the track, hoping no one will notice how bad it sounds. Until I discovered impulse responses. I vaguely understand that when I use an amp sim with a virtual speaker cabinet, someone has modeled that speaker cabinet. Turns out, the modeling is in the form of an impulse response. In Guitar Rig, TH3 and many other sims, you don't have to know this. You click on pictures of speaker cabinets until you find one that sounds right, and badabing. IRs are also the driving force behind convolution reverbs, but that's a different story. Anyway, I got curious about IRs one day, and started googling around, and here's the thing I'd like to contribute to the Favorite Freeware FX Thread: acoustic guitar IRs. OK, these are not, strictly speaking, effects, but the effect they have had on my old Gibson is amazing to me. People have been recording impulse responses from great-sounding guitars, and with a little free software, I can add an IR to my recorded guitar in Cakewalk, and it comes out sounding like a vintage, perfectly set up Martin D-28! Or any of hundreds of other beautiful and great-sounding guitars. How long has this been going on? It's like I've been transported back to 1969 and given the chance not to buy this stupid J-160E. You need an IR loader, and that would be NadIR, linked at the very beginning. It's free from Ignite amps, but it comes attached to their Emissary amp sim, so you have to also get that, which is OK, especially if you're into metal. Both are free, so you can't lose. (Personally I prefer Ignite's Anvil amp -- you have to scroll down to find The Anvil.) I've never used anything like NadIR before, and it felt a little like being at the controls of an alien spaceship, but if you try a few things, you'll figure it out, or you'll crash on a moon of Jupiter. It comes with a few speaker cabinet IRs that you can use if you want to hitch 'em up to the Emissary amp, but you really need to try some acoustic guitar IRs, and you can search from among hundreds of them using the handy Acoustic Guitar IR Database (also linked at the top). I think all the IRs are free, but I didn't look at every one of them. A little googling will reveal lots more places to get IRs. I've only used them in a very conservative way, to make one acoustic guitar sound a lot like a different acoustic guitar. I have a feeling IRs can also be used in extreme ways, and everything in between. The only drawback will be that you'll never get anything done, as you check out what your voice sounds like in the train station, or your snare drum at the bottom of the Grand Canyon.