Leaderboard

Abbey Road Studio 3 for $26.44 at Everyplugin. First time I saw this for less than $50 at Waves.

Bovine Jovi? ?

Hello , here's a new instrumental based on one I wrote 40 years ago. It has now transformed into an "Acoustic Funk" song featuring my Takamine , mandolin and Ibanez bass. Any help on this one will be Greatly appreciated. Mix 3 is now "wider" and added a backing electric track. Thanks for your time .. mark

https://www.ikmultimedia.com/userarea/my-products/

They're still available if you missed Larry's post... as did I ...

^^^ what he said. MIDI .mid files cannot contain proprietary Cakewalk project specific info, instrument track, and/or audio tracks, etc. That's what Cakewalk .cwp files are for. They contain all of the MIDI data, plus all of the additional project settings. When you save or export as .mid, you are only going to get the MIDI data. The rest gets stripped out. Not a Cakewalk shortcoming, that just how MIDI works. Tip: the first thing you should do after opening a MIDI file in Cakewalk, is to immediately save it as a Cakewalk .cwp file. Then all your work is saved whenever you hit the file save button.

What happened here? Slow down ...

@Fleer - "WUP is bad stouph"

During John Lemkhul’s (Plugin Guru) livestream Saturday he was looking at the new Tails reverb and a few in the chat mentioned this new sub model, well needless to say ai picked up TAILS ? Interesting move by PA for sure.

You are saving it as a MIDI file instead of as a Cakewalk project.

That wouldn't be a bad deal if musicians got paid as much as movers. There was a bar manager who complained that we charged $50 more than the next most-expensive band. I think we were splitting $350 that night. I told him, "tell you what...if you can get a plumber who charges less for three hours' work, we'll take whatever you'd give him instead."

Join me as I take us on a journey to POLARIS. I look forward to seeing you there.

This was created using four instances of Cherry Audio's new Synth the Dreamsynth DS-1, which is not a copy of any specific synth but an original instrument. It starts with the initial state of dreaming sleep and then progresses through the different layers, yes it does jump but then dreams often do. Thanks for listening

New sample packs at Pianobook https://www.pianobook.co.uk/ Illustrating Gibson Harmonics by Tom Parry. English Classic Piano also at Pianobook. And Micah's Choir from LABS at Spitfire Audio. Happy memories of me and my daughter.

Some smart fellows at MIT are testing a drug that encourages the regrowth of cochlear cilia, the little nerve endings in your inner ear that sense sound. They tend to die off when abused by loud sounds, and don't naturally regenerate. It starts with the ones near the front that react to high frequencies. We all know about that. It used to be called "age-related hearing loss", but we now know that it's not caused by aging, but by long-term exposure to this noisy world. If you are in the Boston area, they are seeking volunteers for the next trial (link to apply in the article). https://scitechdaily.com/mit-scientists-develop-new-regenerative-drug-that-reverses-hearing-loss/

Just go to your IK User Area and click on "Redeem". The 20 extra points will be added to you account!

For anyone chasing down *alltehfreethangs4eva!!!1!*, it may be worth noting that there's also a free Classic British '73 emulation plugin in the WavDSP Analog Creator series on the site. Two possibly less encouraging things, from a logistics standpoint: 1. As the download page states: b. As one of their help pages states: Li'l messy, if such things unfloat your particular personal boat.

The Gojira is something else. I used it as an insert on a Roland SE-02 and oh boy...

I got the Soldano and I am in Love❤️ Had the Gojira from before (a tone monster) and I really like these amp sims.

I'll preface this by suggesting that this is probably one of those features that has been requested many times. But that doesn't mean the Cakewalk by BandLab developers remember everything from 5 years ago before the decks were washed clean, so here goes. As long as I'm zoomed out to the point where the left edge of all clips is visible on screen, I can read the clip name and group number, which is important info (especially when comping from multiple takes). However, if I scroll to the right and/or zoom in enough that the left edge of a clip is no longer visible on screen, I can't read the clip info any more. As in this screenshot, where I have a couple of clips that are in Group 3 and from the take "Record 2, Take 1." However, the clips in the lanes below them don't have this info available. Why, o why? I would like that information to be visible on the far left of the visible portion of every clip header, regardless of the position of the clip's left edge. It should scoot to the right as I scroll right or zoom in. It shouldn't get covered up or go away until the clip gets too narrow and there aren't enough pixels. Please comment if you like this idea. If you don't like this idea, also please say why, unless the reason is "I think the developers should spend their person-hours on something else first."?

Classic Yodeling Performance sung by Yoda Layheehoo. Kenny

Kenny

Exactly, that's why I said just make the plugins 30 usd and stop this hassle... some of us could use the precious production time on more useful things than fight this marketing craze... like actually properly demoing the plugins... using them as demos right away in the production, knowing it is yours for 30 usd at the end of the session!

The mac and cheese, of course, but I'd check to see if any of those other possibilities have any weevils in them. Then, it's simply a matter of taking the lesser of two weevils. RIP Patrick O'Brian.

I thought where could they possibly take it from here? The solids library? Version 1 the Bazooka Version2, Armaddon. Version 3, RUN! He lit it!! -

Resistance is futile...

I understand Wormhole, but did they think it was Chris Heiney's Solo Violin?

this deal stinks.

Wookiee . . . it does change a lot, and the transitions between sections are very well composed . . . fitting that this would be the last music I listened to before bedtime Sunday evening, really enjoyed this, and know I will have pleasant dreams.

Except for when it's incredibly obvious But, that depends entirely on what's generating the audio. I've never heard aliasing with sounds coming from the outside world into a computer, only sounds generated within the computer. I really should do a deep dive on this on my youtube channel someday.

At Best Service https://www.bestservice.com/deals/ueberschall_spring_sale_up_to_50_off_4014.html

Those are the only loops I dig. I guess it’s the Elastik engine.

Why not use Tracks > Bounce to Track(s) and select Split Mono format?

Anyone remember this? Gotta give Slate credit for innovation in this area; not sure whether this is available with the "All Access" subscription: https://www.youtube.com/watch?v=gYuHTHGEqfU

There are variables for this in the [Options] section TTSSEQ.ini called SendLocalOff and SendLocalOn. TTSSEQ.ini is located in "%appdata%\Cakewalk\Cakewalk Core" For more info see http://www.cakewalk.com/Documentation?product=Cakewalk&language=3&help=INI_Files.5.html

Just pre-ordered EZD3 upgrade. This was a "no-brainer" for me. EZD2 has been my goto for laying down preliminary drum ideas and it has had a low CPU load on my older DAW i5 and i7 computers. I also use Superior Drummer 3, NI's Komplete Drum series, Slate's Drums, and AD2 later in the process to tweak/replace the drums, but EZD2 is so "easy" to use and quick. I really look forward to EZD3 as it will have new kits and new grooves, and I trust TT will make a good product even better. [[FYI-off topic I know-- but yesterday I was able successfully to upgrade BFD Eco to BFD3 for the $49 upgrade price--I have to say that the installation and authorization with their most recent version of the License Manager went perfectly smooth--no bumps no hiccups.]] Like others here, I am waiting for TT to upgrade EZKeys to EZK2--it is long overdue. C2

In actual practice, aliasing is hard to hear. SPAN can show it to you, but if the aliased frequencies are more than about 50 dB below the main signal, you won't be able to pick them out. You may, however, experience a vague dissatisfaction with how a track or mix sounds but not be able to put your finger on why. That's why it's a good idea to Understand what causes aliasing *, Know which types of processors are capable of causing aliasing** and Which ones don't*** Visually check for it with a spectrum analyzer **** * Aliasing happens when frequencies are introduced that are beyond the capability of your project sample rate to handle. Those frequencies can be generated by a digital oscillator or by harmonic distortion. I know of no other circumstance. ** Anything that clips the signal is a candidate for aliasing. Hard clippers are the worst, followed by compression with extremely fast (< ~8ms, but frequency-dependent) attack times and high compression ratios. Anything that generates tones (e.g. a synth) that can exceed the Nyquist frequency can cause aliasing. Note that most synths mitigate this internally and won't require oversampling, but there are exceptions. *** Most effects don't alias. No sample library made at or below your project sample rate is capable of aliasing on its own. Gentle compression with low ratios and medium-to-long attack times won't, either. Transparent EQs don't cause aliasing, even at extreme settings. As noted above, most synths don't have an issue. Even if they do, it'll be on specific patches that have a lot of high-frequency content, such as the Clav example Craig suggested. **** Note that just because you can see aliasing with a spectrum analyzer doesn't mean you can hear it. I've read some ridiculous threads on Gearslutz where people endlessly debated whether a plugin with aliasing at -160 dB is inferior to one whose aliased content is at -190 dB. It's angels dancing on the head of a pin.

I would demo EZD2, this would allow you to get a feel for how SD3 works (its similar). I don't think the "kits" are nearly as important as all the additional Drum Groove libraries ($15 apprx if you by "6 packs") As @PavlovsCat mentioned above the Mixer is not nearly as "powerful" as SD3's, BUT you can send everything into CbB (I send 8 tracks) and then "massage" it all in Cake.. BTW I put up a demo here t

Ah! I remember the days when it was a tenor in one hand, an alto in the other, and a flute tucked under my arm. One trip in, set them up, and I'm ready to gig. But times have changed, bands have been downsized, and we have to do more than one thing on stage. Now for Mrs. Notes and myself (The Sophisticats): 1 Tenor sax 2 wind MIDI controllers (including a spare) 1 Pedal for the wind contrllers 1 Buchla Thunder tactile MIDI controller 1 Korg pad Kontrol 2 guitars 2 Amp sim/fx pedals for the guitar 1 flute 1 rack with 4 synth modules, a 12 channel mixer, an FX unit and various interfaces 4 laptop computers (including the spare) 2 'hot spot' style monitors 2 powered speakers with 15" woofers 2 mics 7 stands for speakers mics etc 1 A-Frame stand Enough cables to make a suspension bridge A suitcase full of spare parts/cables just in case (the show must go on) I tell our clients that we play for free, and charge them to move the gear. But for 37 years we've been gigging steadily (except for the COVID interruption) and never wanted for work. I also tell our clients, the only band that has lasted longer than us is The Rolling Stones. As soon as that settles, I add, and we still have all the original members. If the timing and audience is right, it gets a chuckle and last week it got a standing ovation. Insights and incites by Notes ♫

Sure sounds like a lot of old farts in here.

Talk about GAS haha

This is the one time I really didn’t want to see a dry / wet knob.

Now, now Tim. Don't be mean. I think she's called the Tolerant Lady... ?

It's curious that the marketing video doesn't play even a single fart. I need to know that these are high quality farts before I throw down my hard earned cash!

I refuse to buy this. Since I already own it.

He keeps talking about his back; has he taken a good look at his front??! ? (?)

Be sure and pick up their Tremolo too while you're there...

Just an un-commented video of Dan mastering his own stuff. How you feel about the music is irrelevant, just appreciate those crispy transients! A couple takeaways for me. First, notice how most of the time the limiter isn't doing anything at all. I've always believed that if a good mix stands on its own before mastering, the limiter's mainly just a volume control. As you can see, he's adding a lot of gain because he mixes with gobs of headroom. Second, note that he uses no lookahead. I don't have an explanation for this other than if you're not continuously driving the master above the threshold you really don't need lookahead. I'm guessing in his examples it wouldn't make much audible difference either way.

Hey, who likes Gibson better than Fender? I'm just curious.