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I created a thread days ago pointing my concern about the ongoing fuelled hysteria that brougth us back in the 70 ' . I was asking brands to anticiapate access issue , (roland cloud stuff, subscriptions , only licencing cloud based ect ...) the thread escaleted fast as usual .... But before closed this info surfaced and if true it's unbelievable and such an unilateral break on contract / deal is simply illegal and a VERY dangerous first. "iLOK SERVICES In solidarity with the sanctions implemented by governments and business partners, we are disabling our iLok services in Russia and Belarus. Our hearts go out to all of the people affected by the unprovoked attack on Ukraine. Allen Cronce President and CEO PACE Anti-Piracy, Inc. Andrew Kirk VP and COO PACE Anti-Piracy, Inc." I don't know if people here knows ilok CEO , but if so , CLEAR public clarification is a MUST , expecting to send such emails to RU based people while playing it cool with the rest is a proof of double standard , hypocrisy and a clear indication how placing a third party between Plugin makers and the costumers is a suicide imho !!! Such decisions should have been taken in consultation with all brands using ilok and even costumers .....wtf ....who the f...this guy think he is ? Sorry guyz for being upset , but why sanctionning people that have nothing to do with the situtaion and doing something tha will change absolutly nothing to the war exept showing its political believes and a sentiment of having to tell the world about it ....

Normally I couldn't really add anything to this kind of thread, but it does provide an excuse to say something that might be helpful in general. My experience with software is the better the computer, the less likely the chances of any software crashing. I use several DAWs in my work, and they're about the same in terms of reliability. Overall, I would consider them all very reliable. There are the occasional hiccups, but they're almost always from pushing a program too hard. I can't complain about that any more than I could complain about my car engine overheating because I always run it at 4,500 RPM. Overall I've been very happy with Cakewalk's stability since it became BandLabified. However, I do keep the program, the OS, and all drivers updated religiously, and image my drive periodically just in case an update introduces a problem. Computer maintenance is as much of a fact of life these days as cleaning and demagnetizing heads, and then adjusting bias, was with tape recording.

I've been troubleshooting software and hardware for a very long time. I've learned to play the percentages. I usually assume initially that it was my mistake. Even knowing that's not always true, the percentages remain in my favor.

Studio One!

It can be adjusted to any tonic or mode and you can play the chords within the chosen key. https://www.tonegym.co/tool/item?id=circle-of-fifths

Steinberg support is always famously bad, I mean really bad ! Add the fiasco of the C12 rollout and it's obviously reached total collapse. I know it's no consolation but I'm sure they'll sort you out eventually - and there really isn't much in C12 worth using...plus the usual SB bugs. I'm sticking to C11 for the time being. For this upgrade you had to: Make sure your elicencer software was installed and up to date Install the Steinberg Download Assistant Install the Steinberg Activation Manager install the Steinberg Library Manager Log in to the Steinberg Download Assistant Log in to the Steinberg Activation Manager - it's a different bit of software but can't share a login so that's 2 logins Attempt to find a licence to upgrade with the Activation Manager and elicencer software Generate an email with an Download Activation Code Put the activation code into the Steinberg Download Assistant to generate a elicencer code Find out what software you need to download in the Steinberg Download Assistant, which miraculously has ZERO idea what you own, or what you have installed - despite being logged into your account and being able to see your elicencer Work out what needs to be updated (hint the Simon Philips drums have been updated but there is no way of telling in the SDA) Make sure your C11 licence now says "not upgradable" (how confusing is that ? why not say UPGRADED ?) so that a C12 licence is generated in your online account - although the elicencer server is an old 286 PC and is totally slammed - so this may not ever happen Go back into Steinberg Activation Manager and enable a licence on your PC/Mac Make sure any new content that has been downloaded is installed in the Steinberg Library Manager Install Cubase 12 What could possibly go wrong ?! And after all that you still need to use the dongle because ALL your other Steinberg licences that you use are still there. Also the new Activation Manager just grabs licences from your account without asking - I had c12 LE installed on my laptop and it just assigned a C12 licence out of my account - never told me - and if you look online all you see is a cryptic PC ID so you can't tell where your licences have gone. There are lots of other gotchas but this post has gone on long enough It's a MASSIVE mess - look at the steinberg forums, it's pretty bad.

And above all, the bloody thing is fugly.

I'll stick with building my own PC's and save the $7K.

There are a few reasons this is happening. The first is the tougher the world makes it on Russians, the more likely the government is to cave when the general populous gets angry with their government about being blocked from literally everything. The second part, possibly the more important one is that most people in Russia have no idea what is really going on because their media is being very controlled right now and they are painting a picture that the rest of the world is at fault. By things like McDonald's pulling out of the country, people are going to want to know what is really going on and will start to question. Yes, it sucks. It's going to suck for a while but it's absolutely needed at this point.

CHANGE YOUR WORKSPACE SETTING and next time please do not append unrelated posts to threads.

The President of Russia could fix all this really easily....

I mean, comparing bombing a children's hospital with not being able to use audio plugins is pretty tone deaf.

I don’t want to make politics here, but it’s not mass hysteria, it’s mass murdering and destruction of a country.

However inconvenient that is for our friends, fellow musicians and engineers in those countries it's not nearly as inconvenient as being shot at. I think we should bear that in mind when we complain about the actions of others during the current war. You might not agree with them but at least they are trying to are doing something to help.

I had a 3-DAW limit. Studio One Pro, SONAR Platinum and Reaper. I'm now down to one, Studio One, that is. I was wasting too much time going back and forth between DAWs. 🎸

After taking onboard everyone's suggestions.. I think I'm done now. Thanks everyone for all the input and suggestions.

And a loverly good morning to you all from France.

Run the PA IM to update - M1 Native is close

Do you think the Germans that were bombed by the Allieds in the 2nd World War did all support Adolf H.? Or even each soldier of the German Armed Forces? This is the collective responsibility of a people that is punished! Is it right? I don't know ... There is never justice in wars!

I guess a month or two of not spending on plugins, and you’ll be good to go.

I would have picked Studio One when Sonar collapsed, but their hardware/midi support was really behind Cubase.

The silence speaks volumes....😙

I did too…I’m now up to 5 hahah

REAPER 6.51 is available, with the following updates: + Batch converter: fix incorrect conversion when converting multiple media items [t=263866] + Batch converter: only show "scan subdirectories?" prompt once when importing multiple folders [p=2533273] + Global key bindings: do not treat non-editable combo boxes as text fields + MIDI: fix dropped events at certain tempo changes (6.50 regression) [t=263897] + MIDI editor: prevent note edits jumping to the previous/next loop iteration when snapping [t=261839] + Pan: ensure that "linear scale above -3dB" checkbox is enabled [p=2532677] + Razor edits: fix grouping of existing items after pasting razor edits with "trim content behind" enabled [t=263654] https://www.reaper.fm/download.php

Psychotic Reaction - Count Five

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

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?

I was missing step 3 and 6 for a while, before I got it (finally). But what a mess to get a piece of software in 2022.

I've given up the idea of making any money with my music. I finished my last album in July of 2021 and decided it was a waste of money for cd's because they were too hard to distribute, and who listens to cd's anymore unless they have a car stereo that takes them? Does anyone sit at home and listen to an album CD on their stereo system anymore? Not many, I guess. Instead, I distributed it online through Bandcamp and none of the other services like Spotify, iTunes, etc. As sort of a marketing test, I sent emails to everyone I could think of in my area to invite them to the Bandcamp page for my album, and said don't pay for the album--- just click the play button next to a song. I also pleaded with them to not listen through their laptop speakers, but connect a pair of headphones to get the best stereo experience. At Bandcamp, there is a tab at the webpage with a bar graph for statistics, showing partial plays and complete plays for all the songs in the album. There was only one complete play through all the songs. I confirmed with the friend who did this. He bothered to go and find a pair on headphones stored in a drawer, connect them to his laptop, and listen to the complete album. He even told me which song he liked the best. I'm guessing that the ones that only made it through part of a song before giving up listened through their laptop or smartphone speakers, or those little earbuds. Hearing a partial mix with no bass frequencies sounds terrible, so why would they appreciate all the work I put into producing, mixing and mastering the songs. All of this begs the question: Is there a much smaller percentage of people listening to music than 50 years ago because they expect it to sound good through their laptop speakers or smartphones with earbuds? Also, there is no concept of what an album is anymore. I don't want to start on another song writing project unless I can find someone to collaborate with; maybe some musician with some marketing experience. Instead, I am enjoying live guitar and piano playing to hundreds of songs in Band in a Box 2022 that sounds incredible through my home system. Thank you for listening to my rant.

That's not actually true - but why let facts get in the way of your delusions ? Hopefully we can agree that the death of ALL innocent people is a terrible crime - to equate this with the removal of ilok support (which isn't strictly true either) shows a huge disrespect for those lives lost and you should be ashamed.

Yes this all seems very unfair to the Russian population. People pay for ilok and I believe should be politically neutral.

After the PA Installation Manager update, under Show, it now has a radio button for "Native M1 Products". Right now, it shows "0/0 Native VST3". Looking forward to being able to use the PA amp sims in native mode.

okay so... where's the deal here?

For those who may need to know what Coffee models: Coffee (15) - The Chandler Collection • EQs: (A) Chandler Limited TG12345 Curve Bender and (B) Chandler Limited Germanium Tone Control. • Compressors: (1) , (2) and (ULTRA) are a Chandler Limited RS124. (MODE 3/LIM) is a Chandler Limited TG12413 Zener Limiter • Preamps: 31 in total. LINE: 1-24: 24 channel paths (line input to output). The frequency response (of each preamp) is derived from 24 different channels of a transistor-based solid-state console. The harmonic content (of each preamp) is derived from a recreation of a celebrated vintage Mic Amplifier (valve line amplifier) used in one of the most famous recording Studios in UK in the ‘60s. EMI TG12428? CUST A: EQ Model A's line preamp. C25: REDD.47? "a tube microphone pre-amplifier emulation, the recreation of the original valve line amplifiers used in one of the best British recording studios in the ‘60s." E: line preamp of the TG12413. F: line preamp of the RS124. G: Little Devil Pre Amp (doesn’t include the Feedback control). FEED: B: EQ - Model B's line preamp emulation of a preamp emulation of a Germanium based Mono Microphone Preamp/ DI 500 series unit. (The B and D emulations that are part of the FEED bank give the user the possibility to use the FEEDBACK control/knob.)

Is this Straummy?

Savoy Truffle

Where can I find Orange Blossom Meltdown? I'd love to hear it!

I was up to 5, but cut back a bit. Now it's 4. 🤪

Well, It looks like 3 hour long commercial to sign up for their paid content. My suggestion: do not bother.

another goodie

"The Count Five" "Man With Four Fingers"

Just my opinion: "The forum" is a collection of individuals. Not all forum members agree on the same things as other forum members. Some individuals come into the forum and automatically assume the frustrations they experience are "caused by" the software (and therefore they "blame" the software). Some individuals come to the forum with the assumption that they did something "wrong" or lack something from their personal knowledge bases. In diagnosing issues and trying to help others solve problems, it is often best to rule out certain things. Some people who reply are more terse than others. If you were to do a content analysis of replies to requests for help making better use of the software, my guess is that you probably would find diversity in the responses. As for me, I usually start from the assumption that I either don't know enough, I missed something, or I did something wrong. We are all different.

I know many people use Kontakt all the time and I think this is the easiest way to set it up in Cakewalk.. let me know if this setup will work for you ..

Pulled the trigger! t

Heaven and Hell - Neon Knights RIP Ronnie, what a voice.

it's worse than an IKM rollout !

@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.

Uh oh, you had to go and launch hater's kryptonite. So far we've heard about how Bandcamp is supposedly on a "path to irrelevancy," yet my understanding of irrelevance in such things as entertainment and retail requires something else becoming relevant in place of the thing that has become irrelevant. So, those with a disdain for Bandcamp, please tell us to which music distribution outlet we should flock to instead. Perhaps one that accepts Venmo or some other form of payment more popular amongst the youth of today?

This is soooo true. I think when I started putting stuff out on streaming platforms like Spotify and iTunes the payments were higher. I might have seen a few bucks here and there. Nowdays it's just a loss making venture for me. And it's so un-transparent. The artist really has no idea if the stats are true or false. To give you an idea. I've got music being played by DJs now. I'm 'apparently' in the top 5 on one playlist. If I look at my Spotify stats I haven't had a single listen for a month. Despite all the gesturing and bragging on line, I would wager that most artists are not even getting gas money from streaming platforms, and I don't know how honest those services are being. If anything, I think it's reverting back to how the old radio playlists used to work. Back when I had my music on 'real' radio, I signed up with the PRS in the UK to collect. I remember having to contact radio stations myself and get copies of their playlists to send to the PRS to prove that my music had been A-listed to national radio to get paid what I was owed. There was a time when radio stations published their playlists online. When they stopped doing that the onus fell on the artists to track them down, and if you didn't have a manager or a team doing it for you.... Good bye money. I feel the streaming platforms lack of transparency is leading to the top earners earning ever more and the bottom feeders losing out. Bandcamp on the other hand has always been good to the artists in that respect. Better than most labels (and I'm speaking as an artist who was once signed to a label), when someone buys an album, the artist gets the lion share. That would have been unheard of with the old label system where the artist usually started off in debt to the label. I hope Bandcamp stay true to their initial mission statement and it doesn't transform into another content library for streaming platforms or video games in the style of Epidemic Sounds. That would be the death of Bandcamp as it is now. And on a final note, you know those people who preach that the internet is a utopia in which the artist can finally be free and make money from their work? I'd like to stamp on their family jewels. The internet hasn't freed anyone. It's just redefined the prison boundaries.