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I heard that it was someone who'd just realised that he'd wasted half of his life trying to find a use for an NI voucher.

There's so much to unpack that's fundamentally wrong with those claims you've made. I don't have time to address all of it. But quite simply...Just your argument that Taylor Swift has minimal resources behind her is so fantastically wrong. You consider multi-million dollar ad spends to promote her major releases "relatively minimal resources"???? Relative to what? To compare that indie artists and regional artists that don't even have $10,000 USD a yr budget to spend on promotion to Taylor Swift -- who has a massive marketing machine behind her, as big as it gets in the business -- is beyond ridiculous. Unquestionably, if you're an artist, you need to be on the various platforms where the people who consume the kind of music you create listen to music, but Spotify's current revenue model simply is not going to generate much revenue for artists without massive reach and, in the vast majority of cases, a serious ad spend. Only a very small percentage of artists are making significant wages on Spotify. I know several artists who are not currently signed on major labels anymore but had albums on major labels in the past and still produce music on smaller labels and have fans, one who once had a top 40 hit in the US -- that probably the majority of people here would know -- and he's not even making $10,000 a yr from Spotify. You referred to the resources required to generate $1,000 sales per month on BandCamp. Can you tell us how many plays you need per month to generate $1,000 USD per month on Spotify? And tell us what your marketing strategy would be to generate $1,000 per month so we can understand what your net profit might be. Spotify is simply not a platform with a revenue model that provides a decent income for a smaller reach artist. There is no way to make the math work for small artists with limited reach. Considering the avg payout of $0.003/stream, an artist would need to get around 335,000 streams to GROSS $1,000 on Spotify. And the odds are that you're not going to get that amount of play month after month without investing in promotion and even $1,000 per month is a very very ridiculously small ad spend that will not reach the volume of listeners to get anywhere near 335,000 streams month after month -- no matter how ingenious your strategy is. So tell me, what would your promotion spend per month be to gross $1,000 per month? As you're boasting about your success with Spotify, can you link to your account so that we can see for ourselves?

That would be me.

Ore some old guy actually trying to comprehend Battery 4

What are these guys smoking? Maybe if they ever updated their existing products...

A fun-to-use MIDI-controlled effect with an inspiring workflow and Softube-quality sound Featuring a six-voice polyphonic carrier synth with four selectable waveforms Great for vintage vocoder sounds as well as creative experimentation $79 intro price https://www.softube.com/products/vocoder

Today we're very proud to release Borsta – a revolutionary plug-in specialized in brushed percussion. Borsta is a Swedish verb, meaning "To brush". What sets Borsta apart from similar instruments is that its audio engine supports continuous changes in intensity. This makes it possible to create life-like brushing phrases and patterns, something that can't be easily achieved with ordinary sample-based instruments. $35.99 intro Price https://klevgrand.com/products/borsta

$20 https://www.pluginboutique.com/product/2-Effects/53-Multi-Effect-/8749-Frostbite-2-Crossgrade-from-The-Orb-or-Wave-Box

Let's say for instance that I play music that has a healthy niche, but never goes anywhere near a chart, like....bluegrass. I don't play bluegrass but I have friends who do and an active imagination, so I'll posit a scenario: My trio and I play all the bluegrass festivals we can get to, usually not as headliners, but we're popular enough to get invited to play them. If we put together a dozen songs, we have a pretty good expectation that about 20,000 people know and like us well enough to pay $10 for their own digital album, and maybe our comedy reggae/metal version of "Orange Blossom Special" will sell for a buck to an unspecified number of people because it gets played from time to time on comedy shows or whatever. It's not hit material, it's a clever novelty song that people will want to listen to every day for a week and then probably only play it for their friends while they're getting loaded. That's where we sit in the "music industry." We make music that we know how to make and love to play for a small, devoted fan base. That right there is our "repeated engagement across the largest consumer population possible." But it's the music we love, and our fans love us and we love playing for them. My trio and I should, per your advice, ignore BandCamp and focus our efforts on Spotify, Apple Music, and YouTube, where the REAL money is? How many times will "Orange Blossom Rasta Meltdown" have to stream on them before we get a check for $100? For $1000? I ask because I have no idea. What steps should we take toward getting that many plays on SpoppleTube? Hire a promotional person (who would then share in the revenues)? Switch at age 57 to trying to make music that teenyboppers will lap up? You tell me, I have no idea. No fair saying that that's not the kind of musicians you were talking about, that's called "moving the goalposts," as we've been talking about small timers for some time now, and I guarantee you that nobody in this thread has aspirations to be a teen idol. At least none that they'll admit. My friends from high school have grandkids. I do electronica because I figure in the unlikely event someone asks me to play out, I can wear a helmet like Deadmau5 or Daft Punk and nobody will see how old I am. We're all musicians here, sound off: anyone here know anyone who's making a decent living from having their music stream on SpoppleTube? I didn't say "know OF anyone," I said "know anyone," as in any friend or acquaintance who's recorded some music and put it out there. How many musicians in your wide circle of friends has been paid even $1000 from streaming services? How about $100?

About time this wasn't UAD exclusive! I don't have a use for it, but I *really* want it!

Through March 28th, all users of AmpliTube 5, including Custom Shop, can get the Officially Licensed MESA/Boogie Triple Rectifier head and 4x12 Recto Traditional Slant cab models for FREE. Of course, those who do not already have it. Log into your IK account and go to your User Area. Use the pop-up message to redeem the promotional item and sign up for the newsletter, if you're not already. https://www.ikmultimedia.com/news/?id=TripleRecGiveaway2022

Arg! This deals forum is KILLING me!!

Hello everybody i record and mix one cover song of Tom Petty - I wont back down and try to mastered here is link of mix:

New country song I have been working on with the drummer of the band. The band is called Hobo Train and this was recorded in a local studio and we are now working on the mix. This is my picture.. just wondered how it is standing up. All comments welcome ... especially improvements. 🙂 Final Master. Thanks everyone for the help.

https://www.soundclick.com/music/songInfo.cfm?songID=14400892 and there they are again https://www.soundclick.com/music/songInfo.cfm?songID=14371469

Hmm, I wonder if this is a case of "never attribute to malice that which is adequately explained by stupidity" (i.e., the person you corresponded with at SB is simply ignorant of SB's announcements). If it is indeed an attempt to cheat you out of something that you clearly are entitled to, I'd say that's very unsavory of SB. Since we don't have a disapproving, finger-waving emoticon, I made my own. Take that SB!

I really don't think that I could find anyone who has logged more hours on Cakewalk than me over the years. Granted, I have not always been heavy into audio, a lot of midi scoring to picture, but a fair share of audio. in 30 years I can not recall losing more than 15 min to an hour of work and I can't recall the last time any loss happened. The method I use is similar to what people mention. I have my auto save set up, but the main thing I do is save project versions. After I complete a a major task I save then save as v(+1). Another trick to prevent lock ups is bouncing to clips. After I edit a voice over or a singers part I can have tons of clips, fades, clip gains, eq's dropped in a clip, Or drum parts can have hundreds or small timing corrections. So after I'm done with a major chunk I save , then bounce the audio to a clip, then save to the next version. All your edits get printed and the computer frees itself of tons of data. Just a note...one thing that people don't really realize is that when you do a long take , split it into a small section, the DAW still is trying to edit the audio as one big file. So split out the small section that needs to be fixed and bounce it to clips. It then creates it's own small file (less chance of crashing ). I have spent a healthy amount of time in ProTools, Cubase, Sibelius and Dorico. None of them are any better off as far as crashing. In fact I like CbB's safe mode better than anything else for dealing with crashes. Saving versions is lifesaver and It's rarely the DAW that fails, but some 3rd party plugin that is the issue. My point is not to berate anybody or anything, but chances are you will have the same issues on your next DAW. I learned this all the hard way...very hard way.

All righty then. 🙂 Now I just need to scrape up the $7K for the machine.

Only someone who doesn't learn from experience would lose hours of work more than twice. Cubase is a great program. You may enjoy working with it, but Cubase is also going to punish you if you continue to work long hours without saving.

Really sorry to hear that. See you next week.

The prices are pretty... unsurprising for Apple

I followed a 12-step plan and am now happily Steinberg-free! And I'm going to stay Steinberg-free.

auto-reply from @Bapu inbox

ibtl (installed before they laugh)

This may help with the new features: https://www.magix.com/us/music-editing/sound-forge/sound-forge-pro/new-features/#c1556817

The steelpan samples are from 2012 (when I bought the library), but have aged very well. It's about a 4 GB download, but covers all of the different steelpan instruments, plus a couple of oddballs. Nothing like adding some steelpan to a reggae backbeat. Caribbean fusion!

Look! It's Orange!!!

@cclarry Login OK from the UK PS to all keep the politics out of these forums. You agreed to that rule when you created your Bandlab account.

To me,, that's more of a reason to avoid it....YMMV

My next door neighbor had his back account emptied the other day by card cloners. The bank said that since the troubles in the East, these attacks have increased. They need to fill their war chests with something, why not VSTs?

Fixed

Yeah that is the downside of registering for lots of freebies and deals.. I tend to use a more junk email address for small devs and then a main one for the larger more reputable companies. Still no guarantees though.. larger companies still get hacked too at times unfortunately... Very useful site though 🙂

The same happened to me when I had to fix my laptop (change Windows license). 👍 There is the advantage with iLok that you know how to do things, whereas there is a Tower of Babel with (other) machine authorizations. 😟 But still I prefer authorizations like the former PSP one that do not require online access (Acon Digital, Audiority, AudioThing, Black Rooster, Boz Digital, Cockos, eaReckon, FuseAudioLabs, Harrison, JoeySturgis, Klanghelm, Kuassa, MeldaProduction, TBProAudio, Toneboosters, ..., you see there are a lot!). Real offline authorizations are the most safe ones, also in case a company vanishes or is bought out, or if you cannot update to a new system. These days I mostly buy plugins with real offline activation to protect my investments, as I have enough others that are more cumbersome to handle!

Yes you've gotten rid of most of the boom but there's still a rumble in those toms. Are they on there own track or in the overheads? And to my old ears that's the only thing I'm hearing that I would personally deal with, the rest is right on. And the organ was a great idea, fills in the holes and sits in the mix without getting in the way. I totally agree that a " mix Review" form would be a great idea. That would much more help to me too. In a way I like to post songs only to get mix critiques. ( I already know my songs are awesome ) The more ears the better. We get too involved in our own songs sometimes and you can miss things. Not only those extra ears, but some folks here have better monitors than others.

StudioLogic has just released a wonderful free instrument plugin, Numa Player. It is available for Windows, Mac and iOS. It comes with standalone and plugin versions (VST3 for Windows; VST3, AU2 and AU3 for Mac). The total download is only 200 MB, so the instruments must be modeled, not sampled. The standalone version only supports Windows audio (not ASIO) with a fixed sample rate of 48K and a fixed buffer size of 480, but I'm using the VST3 version, so that's not an issue. Numa Player has 4 parts: Acoustic Pianos, Electric Pianos, Keys and Strings & Pads. There are several instruments in each part. Parts can be overlaid (an EP overlayed with a pad, for example). Very cool! A 3-band EQ, delay and reverb are available, as well as instrument setting controls. Only the Intro video (0:53 seconds) is listed. The Acoustic Piano demo video is unlisted and clickable at the end of the demo video. The Electric Piano demo video is clickable at the end of the Acoustic Piano demo video. Etc. Fantastic! Numa Player by Studio Logic - FREE

MIDI channel assignments! Each instrument slot in a multi-timbral plugin such as Kontakt and SampleTank can be assigned to a channel 1-16. They must match up with the MIDI track/clip for the intended instrument.

Who's a good boy?

2,000 samples per note. Again, 2,000 samples. Per note. Wtf? Even if that's across a few articulations, at a number of velocities, with a few round robins? Seems like overly deep. I dunno. Back to my cave.

Color Toolbar v2 (Free Add-on for Studio One 4 & 5) It's exciting to see that over 15,000 Studio One 4 & 5 users have added the Color Toolbar v2 into their workflow for auto coloring their channels, tracks, events and arranger sections! Thanks again for all your kind comments and how it's helped to save time in organizing your songs and workflow with Studio One. Color Toolbar v2 Website: https://s1scripts.wixsite.com/colortoolbar Color Toolbar v2 Tutorial: https://www.youtube.com/c/ColorToolbar Color Toolbar Users Facebook: https://www.facebook.com/groups/colortoolbarusers

Wait, just to be clear, I went through those legal checkboxes on their site pretty quickly. I wasn't completely clear on whether I was turning over my first born male child, or both of my kids, as well as my soul, for eternity. I think it was just the first born male child along with my soul. But I only had one legal class in college, so I would appreciate if someone with expertise in this area could weigh in so I could better understand what I've gotten myself into in my quest for free sample libraries.

Unless you're running a mess of a machine, Windows 10 does not crash constantly. Why in the world would one choose to move to Linux as a serious DAW platform? It's like taking a 20-year step backward in time. What advantage would it offer? Running Windows 10, we have machines capable of yielding 1ms total round-trip latency. Running Windows 10, we have machines capable of delivering 4000 simultaneous stereo voices of disk-streaming polyphony. We currently reap the benefits of ~30 years of PC DAW development. I put Linux based DAWs in the same light as building a Hackintosh. Sure... it's a "technical-puzzle" that can be fun to solve... but it's not a real Mac. A Linux based DAW is decades behind in infrastructure/development/support/etc. It's just not worth a developer's time/effort... to develop something that's lacking from the start... and has limited profitability.

Consume > Destroy. The Soft Boys - I Wanna Destroy You:

I have the mac mini M1 16GB RAM 512GB SSD and the performance is impresive, even for games. Which is more impresive is that even under full render load its temperature never goes over 35°C and it dead silent. I have a Dell i7 11th generation laptop that gets really hot and noisy when pushed a little and it nevers delivers half of the performance of the mac mini. I can imagine how spectacular performance you will get with the specs of those Mac Studio. However I agree those machines are expensive and you must have serious processing power needs to be in a need for a computer like those. At least for me I am not yet able to reach 50% of workload in my M1 in Studio One with many dozens of tracks, 50+ plugins, some Virtual Instruments, Ozone 9 running in the master bus (!!!) and 32 samples buffer.

the United States of America-the garden of earthly delights

$25.81 through JRR Shop with the code "forum" Snap to it

Deal: 55% off "Frostbite 2" by AudioThing Value: €49 Discount: 55% Price: €22 Grab the deal now on http://www.VSTBuzz.com “Frostbite 2” is a spectral freezing plugin with a Ring Modulator and a Feedback module. With the four freezing modes (spectral, reverb, convolution, granular), you can transform any sound into ambient textures, soundscapes, or just frozen reverbs. Frostbite 2 can also be used for extreme sonic experiments by entirely mangling any source with extreme modulations. Grab the deal now on http://www.VSTBuzz.com!

Nice VI and the sounds were readable by Cosmos. I currently have 39,914 samples; I need just 86 more to reach my goal of 40k!

Almost two years have past since this request, and so many people adhering to it. Plenty of updates to other features, but nothing about the necessary support for true mono send and return for the external insert plugin. It was mentioned that because of CW´s support of multiple driver modes its "harder to do". But it certainly can´t be impossible... so many other daws have support for multiple driver modes, and yet they have had true mono external send and returns for so long. It was also said that it was "lower on the priority list" a year ago. It would seem that some items in that list are simply not moving upwards in the cue, as so many other things keep being updated, but not a fix for this in sight. Again... please address this. After almost fifteen years of the external plugin being introduced, it´s due time for an update that fixes it and brings it to a contemporary standard for serious mixing duties. Hopefully it will soon.

This is awesome👍