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To download in your user area. Focusrite Windows driver – release notes 4.100.10 (USB and Thunderbolt) Release: 16th May 2022 Supported devices: • 1st Gen Scarlett Range • 2nd Gen Scarlett Range • 3rd Gen Scarlett Range • Clarett USB Range • Clarett+ Range • iTrack Solo + Saffire 6 USB 2.0 • Clarett Thunderbolt Range* • Red Thunderbolt Range* * 64-bit systems only. For more information on Thunderbolt Windows compatibility see this article. Supported operating systems: • Windows 11 • Windows 10 (32 and 64-bit) 1803 or newer Notes: • Fixed an issue that caused Cakewalk by BandLab to lag before projects had been opened • Fixed an issue that caused Focusrite Notifier to not scale correctly on some high-DPI displays • General stability improvements

Someone sure took to them here plugins with the ugly stick Pa Yeah Boy, I'm a guessin' they wore that there stick clean out!!

it's generally a fairly safe assumption 🤣

Let's help Larry!

Run Korg Software Pass for Updates: M1 v2.3.1 MDE-X v2.3.0 Monopoly v2.3.0 MS-20 v2.3.0 Polysix v2.3.0 Triton v1.3.7 Wavestation v2.3.0

Red Rock Sound gives us the plugin SA60, an spectrum analyzer For Mac and Windows More info here: https://redrocksound.pro/products/sa60-pc/

mine is when bono wrote to captain beefheart suggesting a collaboration of some kind, the captain replied "dear bongo, no" haha

So I was at V4 and didn’t upgrade until recently to V8. V8 was quite fantastic already, particularly both Rolands. Plus the Buchla, Synthi, Emulator, OB-Xa, CZ, CMI and Synclavier: all new to me and pretty, pretty good. But now Vangelis died and V9 brought the upgraded CS-80, simply perfect. Same goes for the new Prophet VS (and the P5). Finally, I just love Augmented Strings (and Voices) in their advanced guise, fully tweakable. Not into the MS-20 (as I have the Korg emu) nor the SQ-80 (as the Prophet VS does hybrid digital-analog with CEM filter so much better). Yep, finally I’m in love again with the Arturia V Collection. Even got me a MiniFuse, the only portable interface with an extra USB port for my iLok. Well done!

My favorite story (who cares if it's actually true, ya?): Right in the middle of a concert in Ireland, Bono stops the music and starts clapping his hands slowly. "Every time I clap my hands, a child dies in Africa!" he tells the crowd. Then, someone near the front can be heard yelling back "Then fooking stop it!!!" 🤣

If you REALLY want to show your gratitude...find a good charity and donate. I have finally made it out of abject poverty into mediocre poverty, and am VERY grateful, so find a GOOD NON-PROFIT and donate to it, or to a poor family you may know! THAT would be the ULTIMATE way to show your gratitude! And if you know of a REALLY GOOD CHARITY (NOT a Political one), then post it here for others to donate! It's time to help those less fortunate than ourselves! Charity (love) covers a multitude of sins!

https://www.thomannmusic.com/initial_audio_heat_up_3.htm $77 at Thomann, $99 (50% off) elsewhere (e.g. PB). Not a bad rompler. I was interested at $99, but had no willpower left at $77. It's a big 14GB download and their servers are slooooooow.

No way

Installed

The Orb - A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld

The Cure - Jumping Someone Else's Train:

Ample Sound has updated Electric Guitar to version 3.6 with native M1 support, Native accessibility, and Guitar Pro 7 tab reader. New Features: Native support for Mac M1 machines. Native accessibility support on both Windows and Mac. Tab Reader supports Guitar pro 7 format. Improved sample engine, memory management, and efficiency. Updated AAX format version. Optimized UI display. Added Sync feature in Delay. Issue Fixed: Fixed a potential problem related to the DAW clock. Fixed a potential problem in the process of loading sample library. Fixed potential crash caused by a bug in main panel and Strummer UI. Fixed some bugs in Riffer and Tab Reader. Ample Sound users can update for free through the MyAmpleSound webpage. https://www.amplesound.net/en/index.asp

Great idea. Put up a link Larry, and I'll edit my post.

Red Rock Sound gives us the plugin EQ302, a grpahic equialiser For Mac and Windows More info here: https://redrocksound.pro/products/eq302-pc/

zzz00m, zzz00m!! Got to be fast around here baby

While logged in I just put it in my cart. It was discounted to $0. It’s a new purchase, not a .5 update download from your previous purchase.

Soundpaint 1.1 was released today. It now contains free User Sample Import (USI) and the ability to share programs! USI automatically comes with Soundpaint when you update to 1.1 Check it out here! https://soundpaint.com/pages/free-engine

NOTE: Please DO NOT post what you donate. Keep that between you and your maker!

You need a real audio interface and to get rid of ASIO4ALL.

OK, it's both simple and complicated to answer this. I remember the first "proper" demo my band recorded back in the early 90s. Up until that point, I'd done everything myself in my own dinky home studio with whatever gear I'd accumulated, and mixed it on speakers connected to a powered PA mixer. To me, that sounded great (narrator: it was NOT great) and really didn't translate to any other system well. We went half way across the country to do our proper demo in a real studio and I walked away from there thinking we did OK... until I played it on my gear at home. It was thin, the reverb and delay levels seemed weird, the balance of everything was out... what was going on? How does reverb level change on a bus ride home? 🤨 It was at that point I learned the difference between a treated room and an untreated room, and the difference between Yamaha NS10 speakers and my listening environment. It blew my mind! The other wake-up call I had was when we did our first full album. Absolutely moronic mixing decisions by me aside, this was all done in a very expensive studio with a bunch of vintage gear, and then taken to one of the best mastering houses in the country. We were all fairly onboard with the overall sound of it by the time it got to mastering, but then we put on reference material as a comparison, and now that reference material sounded small and pokey. Our album was MUCH fatter sounding, MUCH more high end sizzle, the snare was MASSIVE compared to this stuff. The mastering engineer did his job based on our suggestions as for what kind of sound we wanted to go for, and we all went home and got on with our lives, not really obsessing about the album much for a while, being happy to listen to something else for a change. By the time we came back around to listening to our album, it sounded like a dumpster fire. Why was the low end so muddy? What was all that fizzy high end? Dear god, why is the snare so fat? Mind blown again! The lessons from this were perspective and environment, and ultimately experience. The first thing is environment: If your room isn't treated well, or your speakers aren't accurate, you have NO IDEA what you're listening to. And even if your room IS treated well, different speakers bring out certain elements more than others. For example, I absolutely HATE NS10s because the upper mid bump they have makes my ears tired in no time at all, but other people swear by them because they're so unforgiving. So you need to be familiar with your speakers and listen to a bunch of reference material on them to understand how they're going to react to "properly done" pro mixes, so you can be objective about it all. And if you find that when you sit in your mixing position all of the bass goes away or you're not getting a lot of positional clarity for certain instruments, it really means you need to look at your room acoustics. Perspective: Our brains lie. That fizzy guitar sound? Listen to that for 8 hours straight and I bet when you listen to a good guitar tone it sounds flat and boring. That huge low end you have in your mix sounds absolutely fine if you've listened to it all week and it makes commercial releases sound thin. But I also bet that if you took a break from those things and came back to them later, it'd sound like garbage. Unless you're stopping for sanity breaks, which means time away from a mix, and regularly listening to well-mixed reference material to reset your ears, your brain will slowly get more and more skewed with that you think is good. This also plays into the environment thing too: Even if you're having sanity breaks and doing everything you can for a good mix, this environment can also trick your ears into thinking it sounds good when some room modes are comb-filtering out really important information that you're trying to compensate for. You need to know your room, and understand the limitations of it so you can trust that the reference mixes you're going back to for sanity checks work. Your room doesn't have to be perfect (few are) but you need to at least know what's going on in it so you can make a proper decision. And that leads me to experience: How do you know how your speakers sound compared to others? Listen to great mixes on each of then. How do you know if there's any holes in your frequency spectrum in your room? Listen to great mixes in there and compare that experience to other places that sound good. Maybe even get hold of some acoustic measurement software and go through and properly treat your room if it's definitely not working well. The more variables you can take out of this, the better. How does a good mix sound on your studio monitors? How does it sound on your little boom box speakers? In your car? On your laptop speakers? On your phone speaker? They all sound VERY different, I bet. But the trick is to understand that if a pro mix that you think sounds world class sounds that way on all of those speakers, so will yours. There's really no one-size-fits-all mix, only your ideal listening environment, and experience telling you what you need to do to compromise to have it work on the other places. So my advice: Listen, listen, listen. Get something you know sounds fantastic that was commercially released that you love the sound of. Play it EVERYWHERE and really pay attention to how it sounds on each system. You'll find it will probably sound radically different. And then take it back to your studio monitors and get used to how it feels in your room. REALLY listen to it. Take some notes as to how you think it differed on each system - was the snare too poky and loud on your laptop speakers? Did the vocals get a little lost when you listened in your car? This happens, and you can't really do anything about each listening environment, other than understanding how it changes. If this is a commercially released pro mix and it's doing this, you can feel fairly safe that it's going to be comparable to other commercially released pro mixes, so if you're aiming to get yours to compromise in the same way across each system, then you know you're on the right track. Don't obsess over the minutiae - if you're worried about your reverb sounding quieter or your kicks not being as deep on some systems, and it's doing more or less the same thing as a pro mix is doing, it means your brain is starting to lie to you. Refer back to the pro mix for a sanity check. Get as familiar with your room and speakers as possible with pro mixes and then use your judgement of how your mix sounds in comparison to theirs in that environment. If you can get it in the same ballpark, then take it to a proper mastering engineer for the final touches. You're already 80% there at this point, but the final EQ and compression that an experienced mastering engineer can give it will help it translate even better across systems. It will NEVER be perfect, and it isn't for ANY mix, but this can at least ensure you're actually comparing apples to apples with everything else when they're played back on different systems. So yeah, that's a lot of words to say that "yes, it's supposed to sound different, and get some experience" but it honestly takes years for the lightbulb to truly switch on. Be methodical but also give yourself a break too - you need to train yourself to understand when your brain is just being a jerk to you. We've all been there! (Some days, I still am 🙄). Good luck!

It's getting harder for me to turn in a good vocal performance so I bought into the Emvoice One app. I wrote this song around the female version they call Lucy. I know it's still a bit robotic but I'm new at it and with practice I should get better. Some of the online demos I hear sound really good and I hope one day to get that good at it myself. This is an early attempt for me. I'll also print the lyrics because some of her upper notes are hard to understand. If you let the SC play you will hear the first project I made with the male singer, Jay using Reason 12. https://www.soundclick.com/music/songInfo.cfm?songID=14434016 When the words have all been said and you need to touch me Hold me closer. Do not rush We have so much time to linger When your heart has found my soul we will be sing one voice Hold me just as tight as you can Tight as your arms can hold me now. We have known each other for so long Have so much love between us We have come through so many storms Weathering all the times together Charming times you hold my heart I will always trust you You have such a way with your touch Moving me through the clouds of love When you put your arms around me a new world is born streams of love flow whisper so low of devotion you bring to me We have reached what so many longed for through fair and stormy weather I could not ask for a better love Clouds of love will hover over Every time you look my way angels will be smiling I can follow you with my heart Leading to the clouds of love Holding me through the clouds of love c 2022 John Bowen 🙂John B

I swear that I had updated already too. So I just reloaded the Korg Software Pass and it listed the same synths as needing an update. I did a google search and it turns out there was a later version of Software Pass v1.1.11 and I was in 1.1.7. This link has the update: Korg Software Pass. All appear correctly updated now. Too bad the portal does not know to update itself.

Gnarls Barkley - Crazy

Lots of good info in Tim’s post. I definitely use analytics to “look “ at my mixes. Span is a huge asset for this. And they also make a free multi band correlation meter which shows me when I’ve got phasing issues. I’ll also open the Pro channel EQ fly out which also has a great spectrum meter.

I was being sarcastic. In house coffee = CbB, BYO = Studio One(In this case) Those who own the coffee house don't seem to want BYO, that or someone complained about your thread because it was about Studio One. I agree with you.

I thought that was simply Awesome. I especially liked the dissident notes played in the intro and throughout the song. Amazing how they created a relaxing tension (if there is such a thing). Enjoyed it .. mark

... or friends of Larry! 😁 (I took for granted Larry had posted this without checking)

Admin...remove MY post...THANKS!

No! I haven't! Cool!

Confirmed the issue still exists. I just finished installing Syner-V using the Product Manager, and some of the content was created in the wrong directory. I fixed the problem using the procedure described in this post by @Dave Schreier .

Have a GREAT WEEKEND guys! \m/

*fingers crossed for a free upgrade to smell-o-sound-schmos when it comes out a decade from now*

THANX NIKY!!!

A N D Great Lyrics ... thanks

Introducing BRASS - With Intro Price You know all about these huge trap brass stabs. You hear them all over the place. Trap, Hip Hop, EDM, Future Bass… you name it. Before, you had to look for them, cut them from some tracks then sample, or create them yourself... Not anymore because we got your Back! Introducing to you Brass, a multi-Layered brass VST with gloriously thicc, tight, and authentic sounds, Whether you need deep and sinister horn stabs for your trap beat or a Pete Rock style trumpet hook, or lush sustained brass chords for some Rick Ross type music. BRASS is an Inspiration machine With a clean, simple, and effective interface. It comes packed with over 100 realistic-sounding trombones, trumpets, brass hits, sustained hits, and extras. Just Drag the XyXy ◎ CIRCLE to Find a new blended sound of 4 Samplers, that will work well in all types of modern music production. $20 https://www.thenatan.store/p/brass-trap-vst/

Available on the BBC: https://www.bbc.co.uk/programmes/p07rfk2j Includes documentaries on: Freddie Mercury, The Rolling Stones, Status Quo, Jeff Buckley, John Lennon, Amy Winehouse, Simon & Garfunkel, Frank Zappa, Phil Lynott, Miles Davis, and on and on.

There are several documentaries about Bob Marley that I have watched. I have a vcr tape of a much older one I wonder if it will play after 22yrs in the desert! The ones I have seen include concert performances of course and interviews with musicians, family and friends. Other things/ themes are shown like Jamaican life, Rastafarianism, ganga. (On a personal I had the pleasure of visiting Jamaica for a month in the late 80s with a Rastafarian Jamaican female musician friend living and performing in Baltimore where I was in a different Jamaican-led reggae band on bass. She was going for her brothers wedding and needed her US recordings supplemented by some of her Jamaican musician friends/ session musicians on the island so we would pick them up and went to several major studios often (all but studio one) and I met some of the people in the videos and was at very non-touristy parts of the island doing things locals do vs sightseeing etc. so watching the documentaries brings back so many memories of that amazing trip for me)

Thanks to the Music Software Deals site ( here ) I saw that this was $43 and change at Thomann's. I emailed AudioDeluxe and Best Service to see if they would price match. BS emailed back immediately and said "just adjusted!". Best Service now has this for $40.47! https://www.bestservice.com/vip_bundle.html Still a good deal at AD with DeluxeBucks and the freebie though...

I think it is a toss up on the savings part but I love that these parts of the forum are very friendly. I just have to be careful even if the water is fine 😉

I kinda feel they are going down the IK route of making this more complicated than it should be in terms of versions, no upgrade info, confusing "All Headphones" vs "Pro Headphones", special signature edition, etc. Maybe just me, but while I'm a bit interested, it's not all clear enough to spend money on.

Short answer: turn everything down. You're right, the doubler is effectively adding two more tracks, which are summing with the main vocal. And because they are essentially copies of the main vocal, they're going to experience constructive interference, meaning a bigger jump in peak values than you might expect. You probably won't hear any distortion, because you're working with floating-point data and that means there's no clipping even when you go into the red. However, it doesn't mean distortion (specifically digital overs, the nastiest-sounding kind of distortion) won't haunt you later because the real world isn't floating-point. This is even more likely if you end up exporting to MP3. Just pull back all the vocal tracks to give yourself 8-12 dB of headroom. Easiest way to do that is to group them and use the Gain slider. If you have compression on the vocal tracks, you'll have to go back and tweak the threshold setting, lowering it by the same amount.

Or you could just lean how to play chords....

I don't necessarily think *more expensive* monitors are the answer, but ones that are not hyped like home stereo ones are so it's not prettying up the sound too much. On the other hand, there's never a downside to room treatment. If your room is working against you, you could have the best monitors in the world and you still won't be able to make the correct mixing choices because you'll never know if it's real or not. I'll go so far as saying that THE MOST IMPORTANT THING in your mixing chain isn't your DAW or your speakers or your outboard gear, it's your room. And then I'd look at the speakers after that if you're finding them lacking.