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I'm glad to hear it. I am an Amazon consumer who got screwed over by them a couple of years ago. It happened this way: Amazon have a policy where any 2 people sharing the same address may also share an Amazon Prime membership. Nice for unmarried couples, roommates, whatever. I have a tenant in a cottage at the rear of my property, and he has an Amazon Prime membership, so I signed on to this. He , in turn, has access to the Netflix subscription I pay for. A couple years ago, I noticed that among the scattering of purchases from Amazon, one for the same amount of $14.95 kept popping up. This had gone on for about 6 months. I contacted Amazon and apparently, buried in one of those legalese-filled emails we get about Notice of Changes in Terms to Your Account, was the information that, in order to continue using my tenant's Amazon Prime membership, I needed to opt-in. Failure to do so, while continuing to order from Amazon, amounted to my consenting to having my own membership, at $14.95 per month. If I even read the email, I only skimmed it, because, you know, legalese. I informed them that I did want to opt in to continue on the one address/2 users plan (duh), and not only that, I wanted my money back from the months when I hadn't explicitly opted in to the other plan. No go said they. My bank (Chase), on the other hand, were very accommodating about getting 3 of the months charged back. Yes, part of it was my fault for not reading the email message completely, and for not noticing the recurring charges until it had been going on for half a year. Still, I thought it was kind of sleazy for them to switch people over in this way when who on Earth, if they were eligible for sharing a membership, would choose to pay for their own? It's too bad they pull this crap, because Amazon Prime is a great deal. Either the free fast delivery or the streaming videos would be worth $15 by themselves, IMO. Probably similar to how @Grem feels about Waves: they have a good product, why do they have to be so sketchy in how they go about selling it? I've never been a huge fan of Waves' products. They work fine, but none of the ones I have experience with surpass counterparts from other industry leaders like Brainworx, Meldaproduction, or iZotope, and the single seat license always put me off. Something about them that I think is great is that you can move their licenses around on a generic USB stick or SD card rather than a proprietary dongle.

(deal still works Nov 28) You need to use a credit card for your order at Best Buy, but there will be no charge. Also at Apple, with paid renewal in 3 months. SO- drop your sub a day before, if you are a fellow tightwad. This is good for new OR returning subscribers. I had a free 3 month starting last December. Now I can catch the latest Ted Lasso. https://www.bestbuy.com/site/apple-free-apple-tv-for-3-months-new-or-returning-subscribers-only/6484512.p?skuId=6484512

Hello , We had such a good time with our last collaboration we immediately started another one. This one is just about all SubVibe. All I did was the electric guitar and some backing vocals. I really like the "spire" synth he used on this and our last song. We both shared the mix/master on this , so if you hear any problems or have suggestions , one of us will figure it out. Thank You .. mark https://soundclick.com/share.cfm?id=14641482

Our group from Bordeaux - France 🦞

$49.99 with code SSCVA537 https://www.newegg.com/samsung-1tb-870-evo-series/p/N82E16820147793?Item=N82E16820147793

Get an extra 10% discount on your order at Blue Cat Audio. Code: DIGIFRQ710 https://www.bluecataudio.com/ Discount works on regular and sale items.

Unless you're a ProTools user, in which case this is likely to be an ongoing frustration. It never bodes well when a company is taken over by a private equity firm, which only cares about profits - not product quality, staffing or customer support. They will slowly drive consumers away (mostly to Logic) while milking existing products for the last drips of profit until they eventually auction off the office furniture. But for those of us happy to live in a Cakewalk world exclusively, then yeh, mostly meh.

I have experienced this error in the past, and fixed it via the installer (\program files\spitfire audio\spitfire audio.exe) as the video above shows. iirc, I found the solution at the Spitfire website. The issue can arise when you install LABS while logged in to Windows under a different user name than you normally use when running your DAW. In your case, it looks like you were logged into Windows as Admin2 when the libraries were originally installed. Then, when you subsequently logged in as "Just Be", LABS went looking for the content in Admin2's user data and couldn't find it. (As a side note, this isn't a problem you're likely to run into with other virtual instruments because most are either not user-specific or they prompt you at install. You've probably seen other installers ask if you want the program to be accessible to Everyone or Just You. Which makes sense for things such as system utilities but not for virtual instruments. If Spitfire assumes a specific user rather than Everyone, that, imo, is a mistake on their part.)

Mr. Bradley, sir . . . I bow to your comedic sensibilities here . . . what a whole lotta' fun. Guitar is super well played, and my compliments to your video costume designer. Like a crazed fool, I just left the volume loud . . . because it just works !! . . . oops, gotta' go someone's banging on my door . . .

@mark skinner @subvibe Another great chill pop song from you two ! Loving the thick textures, and the way the electric guitar blends into it all . . . translates from headphones to speakers very nicely, quite well mixed there. For me, it has a very European and urban feel to it, and a kind of dreamy love theme in the lyric. Can't think of anything else it would need . . . just a really enjoyable and relaxing listen. Bruce

Hi Mark I like this and a very enjoyable listen. Think Barry made some good comments Cool Nigel

Two years later I get around to finishing this one. I used a lot of delay fx with NI Replika and uHe ColourCopy. Thanks for listening/commenting. -Bjorn

Hey all . . . here's something from my studio that I played around with for way too long, finally became an actual song. Originally came about after hearing some Acadian music (eastern Canada) on the radio one night, kind of an Irish roots thing . . . and I added my pop music thing to it, let me know if it's any fun for you . . .

One of the top priorities of my #1 "Bucket List" is to complete tribute album to one of my all-time favorite artists & ultimate inspirations Frank Zappa. Yeah I know, his music isn't for everybody and falls smack dab in the fringes in far end edges of the catagory of "acquired tastes", but I simple LOVE IT, and I find the challenges of even coming relatively close to understanding how to play/perform it keeps my "chops" up and helps keep me young and alive. My original goal was to get a band together to play this stuff with me, but I gave up trying to do that over about 20 years ago, because I had such a hard time finding likeminded musicians with the resolve that could, or even willing to even try that weren't already working, without paying them exorbitant sums of money it would take to get them to leave the KILLA BANDS they were already employed in. So, never being one to not finish what I started, instead of giving up, I decided, no matter how long it takes me, I WILL GET IT DONE even if I have to play/perform all the parts and tracks myself. . Sooooo..... 25-30 years later, give or take about 15, I decided to start laying down tracks in SONAR.. And then "Cakewalk by Bandlab", and now.... I've been exporting from CbB and mixing tracks and stems in Bandlab Studio, and getting VERY GOOD results. 😵 As in this latest session of ZoMbiE WooF't Over the years I've managed to keep a forward-thinking 'young' attitude towards new technology, learning what it does and why, as well how to use and apply it, and making progress in compiling a growing and an ever expanding and refining collections of my favorite Zappa tunes. But still, not quite up to the highest bar, and not enough for a 2 album set, but still good enough to keep me go'in, keeps my chops up, and "Keep me Young", which is ALWAYS A GOOD THANG considering I believe I'm going to need another 225-to 275 years to complete this "Bucket List" 😂🤣✌ https://www.bandlab.com/band/band6873043074588134/zombie-woof-94a6338b-fbf68785

I thought this was worth the 90 minutes while I was on the elliptical. https://tubitv.com/movies/100003779/gary-numan-android-in-la-la-land?start=true

Met a nice, new lady recently and while at her place we were letting Spotify play different bands. Like Pandora, it tries to play bands that are similar to the original band requested. I ended up finding a few that I liked and thought I'd share since I'd never heard of them! Note that I like a LOT of genres, but these all fall into a Joy Division / Cure like vibe. First up: Twin Tribes I'll add the others once I figure out which albums seem to illustrate each best! 🙂

The only time to use dither is when you're exporting to a lower word length - i.e. from 24 to 16 If you're not doing this then leave it unchecked

Yes exactly. Like I said, it's all about a 100% total understanding of that good old signal path. Like vocals are the hardest. I now use Melodyne for leveling but I used to use Clip Gain or even the dreaded destructive "Gain" process to optimize the vocals and then add the EQ and then a compressor. This made the work the compressor needed to do less aggressive so there was no noticeable squashing happening.

Shades of Sade! This is so chill. It sets a dreamlike mood, yet is passionate at the same time, no easy feat. I'd love to hear more from the two of you.

RIP Topic? 😆

Bjorn, this is terrific! It's very meditative and soothing to the nerves. You just keep getting better.

I'm going to take you on a different path. In your envelope setting, look at the choice. you may have put your envelope on VOLUME and edited it the way that you want it. Now, drop down to CLIP GAIN envelope. if you have nothing there, copy your automation from VOLUME to CLIP GAIN and check to see if the results are the same, you will have to delete or clear the VOLUME envelope, then see if you like the result. If so, your track fader is free to use or write to as desired. If you are using an EFFECT that has a gain control before it hits the track, you could automate that control instead and you would get back your fader. You have a lot of automation that you can try that can free up the fader.

^^ This is probably the easiest solution for you. IIRC, there was a hiccup with the Spitfire Audio app where one older version didn't automatically prompt an update for itself, so be sure to get the most recent app from Spitfire (in case you kept an older version). To test that re-installation is working properly, I would recommend only downloading one of the LABS libraries, then open Cakewalk and seeing if LABS will insert properly. If it works as expected, you can simply go back and get any other libraries you want from the Spitfire Audio app. There is also a list of support topics on Spitfire's Support page for various issues that might be relevant, but try the uninstall/reinstall first.

Thanks, glad y'all liked it! Couldn't have made the video without the help of all the wonderful lunatics who dress up their dogs and share pictures of same. It was once such photo that got me rolling the phrase "punk chihuahua" around in my head and thinking "that's got a good rhythm". Originally was thinking of Psychostick's Girl Directions, but opted for Holiday in Cambodia as it was more musically my sort of thing. Wrote lyrics and recorded the song (in CbB, obviously. All processing (including amp sims) done in-box.), and then had to find images that kinda matched up with the lyrics. The Internet did not disappoint!

Thanks Lord Tim

Use code URM25ANNUAL2023 for 25% off = $11.25 /best @Bapu impersonation on installed! /best @Bapu impersonation off

Maybe we're still settling into the technology, even though it's been settled into its current form (by which I mean DAW-with-plug-ins) for over 20 years? Venus Theory on YouTube is one of my favorite people who philosophizes about the psychological aspects of this matter of everyone having access to a high level of music production technology. When possibilities are endless, when we "know" that there are no logistical penalties for working on a song "forever," when we can fully realize complex musical ideas without having to put together a band, get financial backing, spend money to hire a fully-staffed recording studio, the pressure that once existed to finish things is relieved. It's too easy to fall into a trap of endlessly polishing something as our skills continually level up, our collection of plug-ins levels up. But as you describe, there is a penalty. I can open projects from 10 years ago, but back then I was using iZotope's Elements series, Kontakt Player 5, a whole bunch of plug-ins that if I wanted to fully revisit them, I'd need to reinstall a bunch of stuff I'd rather not have cluttering up my drives. When I got back into working with a DAW, the host I was using was just transitioning to 64-bit and VST3 support. I was having issues with the 64-bit version, and their VST3 support wasn't fully dialed in, so my projects from back then have some dependencies I'd rather not depend on. My expectations need management; I need to work knowing that I will want to revisit projects in the future, and that my DAW system will have changed. I suspect that it may not change as much in the next 5 years as it did in the previous 5, due to my collection of mixing (and instrument) plug-ins having leveled up. I stick to well-supported stuff like Brainworx, Meldaproduction, and iZotope, but there are never any guarantees. My MIDI tracks sometimes make use of things that only Cakewalk supports, like the built-in arpeggiator and MIDI FX, which are DXi. Not many hosts still support DXi (Cakewalk and REAPER do). Cakewalk will likely support DXi plug-ins for a good long time to come (they still ship them), but what is "a good long time?" As you point out in the case of the same instrument plug-in from the same manufacturer, Dimension, things can change under the hood. Maybe it's time to either get into the Venus Theory practice of finishing things whether I think they're perfect or not, and also work with the idea of future-proofing in mind. Knowing that I'll likely want to revisit things in the future. Bounce everything to individual tracks, both with and without FX, etc. I already save every plug-in installer, but there are probably a few that I no longer have due to system rebuilds, disk cleanups, etc.

It is a bit more complex than this, and as soon as you mention "synth" it raises concerns. Each track/instrument should only have its relevant frequency material passed into FX chains. Frequency collisions are commonly countered with slight EQ boosts to instruments that use those, and complementary EQ cuts to everything else (mirror EQ). Another trick is to push colliding frequencies to the sides and leave the focused instrument more center. The goal is to keep frequencies that only add to overall power out of the mix (kills your headroom drastically). With synths in particular... presets are often for demo purposes, cover a WIDE frequency range, and are processed internally to no end (so they sound cool solo). As soon as you are mixing a synth, 3-6dB cuts/shelves to anything conflicting with another instrument is advised. Automation can be your friend to bring things in and out of focus as well, but knocking down "extraneous frequencies" (they do add up quickly) gives you a lot more headroom to work with for the overall mix. The "wall of sound" is achieved by filling the audio stage with relevant frequencies that each have their own place so they can be heard. Synths often "take up everything" so be wary of them (especially presets).

The 40k on the Maag is +7 and the 32k on the 747 is +7 as well.

Your mileage may vary - or actually will vary depending on what sound interface, drivers, and settings you use, to answer the general question topic posed here. CbB converts things within a project to match - as per your choices. -Then - for your specific end scenario, upsampling from CbB on an export is also quite easy. Or, you can do that with other software after the fact, before sending it to your mastering engineer. Everyone finds their own favorite workflow there. FWIW - In my recent CbB & SONAR project cleanups & consolidation efforts, I have found that CbB seems to primarily base the stated overall project bit-depth, determined, in my experiments anyway, by the highest bit-rate audio clip in the project - mostly. -So, for instance, when I actually want to change the overall CbB project bit-depth, I use that as a guidepost. In my system, sometimes I seem to get better performance, -but not always audio quality (but it's very hard to tell), by matching the overall project bit depth to my audio interface recording capability (which for me is currently 24-bit). And if I have a 32-bit or higher audio source I want to use, I back it up (just in case, in practice CbB doesn't resample destructively anyway), and then have the import dialog convert it for me, -most of the time. -Then viola, the project rate changes to whatever I wanted. But that's only what I choose to do, -there are many good choices. I find that CbB does a great job of using mixed bit-level files, at almost any sample rate, with my systems over the years. But the actual sound quality of the overall output, and exports to be sure, changes individually depending on settings used, and the hardware interface & driver performance combined. -You should experiment to find the combination of project settings, file bit-levels, and then of course sample rate base, and dithering that you find works & sounds best with your system. That part varies widely. But otherwise, mixing audio file bit-rates within a project, and exporting at another has never been a problem within CbB for me. And with plugins, internally I suppose that's a whole other story, but again, Cakewalk seems to handle it all "under the hood" quite well so far for me.

Hi Lynn this is great all-round - great song, great mix, great playing and a real cool video I enjoyed everything, - top stuff Cool Nigel

Hi - great track, loved the guitar, excellent playing. Mix is good - vocals on the edge of some sibilance but really not too bad and didn't distract from a very enjoyable listen Cool Stuff Nigel

Catchy song, well done.

Ah, the irony.

I didn’t except such a Waves of subjects when I posted this thread.

We can set it in preferences. I chose to work in 16/44.1 because I have only 222GB SSDrive and Im struggling for every free GB. Why that sucks? Would you hear the difference?

Don't worry about it at all. You're in a taking in information mode right now, not a putting out mode. You will write when you really want to. Read a good book in the meantime. Regards, Terry

Very nice audio editor. As a bonus, its start-up time is quick as lightning.

Very nice piece. Captures the spirit of Irish/Acadian music excellently. Well written, arranged, played recorded and mixed🎶🎶🎶🎶

I made a simple CAL script that solves this by deleting all MIDI notes with 0 length / velocity, which somehow still triggered all pads in ADSR Drum Machine. If anyone finds this useful, you can find it here: https://drive.google.com/file/d/16tx4aq6TJ9xMuP7lG-CTZ6wArb2N5o_c/view?usp=drive_link This is what it contains (you can check it by right clicking > opening it with your favourite text editor): Put it in your Cakewalk install directory > Cakewalk Content > Cakewalk Core > CAL Scripts. To use it, select the clip by clicking on its header (so all notes are highlighted) and click on Process > Run CAL (or assign a keyboard shortcut to it).

All the software I use has a" Help" dropdown in the menu bar ( Hint, Hint) This is universal place to find the Look For Updates etc.

Interesting song, a little different. works here.

Using the gain doesn’t change tone. That is your ears lying to you. It is common knowledge that level has an effect on how we listen. A lot of snake oil plug ins make you think that they instantly make a track sound better but it’s just louder. Possibly understanding what you are trying to achieve would help offering a workflow that would help you better. Cakewalk has many options you can use to control the level of tracks. I actually rarely end up needing volume automation. I mostly use clip gain. I will also use tools such as Process Gain, Compression, Limiters and EQ. I try and leave all my faders at unity. I use the gain to set a target peak level for each track. I will use clip gain envelope for solos or brief changes. With clip gain I can simply highlight the section at drag the whole part up or down while observing the level read out showing at the pointer. As said there are dozens and dozens of workflows available and as you are finding out what works for one person doesn’t always work for you. Example almost all compressors, limiters and EQ,s have a input and output level control you can also automate. I have never needed this but it yet one more option.

Or send the track to a bus, do the volume there.

It's announcements like this that make me glad that I've transitioned away from Waves plugins and have supported a bunch of other, (primarily small) developers with great plugins and much better policies -- developers I feel much better about supporting. Waves, you get credit for lowering the prices for the industry and for having policies that have created a wealth of opportunities for other, more customer-focused developers (of course, that wasn’t Waves' intention, but that has been the outcome of their practices). They've unintentionally inspired greater competition in the marketplace with their less than upfront and customer-unfriendly practices; they've helped lower plugin prices throughout the industry with their always on $29 USD sales to the point where there are now plenty of good, simarly priced (at least during sales) alternatives to Waves plugins. They've even inspired some developers to offer benefits like free lifetime updates. During Waves subscription fiasco, some of their competitors were even bold enough to call out Waves, comparing their practices. So, it's unquestionable that Waves has had an impact just by embarking upon strategies many plugin users find less than desirable. I would say that they've squandered the opportunity the brand has had in the industry by putting profit motives too far ahead of customers' needs and wants. I really can't imagine a scenario where the Waves brand sees significant growth in the near future if the brand continues their existing strategies and tactics. Just look at threads at any forum when you see Waves mentioned to give you an idea of where their brand image is at today. So thanks, Waves, for doing these things to ensure that I will never need to buy another Waves plugin or bother purchasing WUP if one of my old Waves plugins stops working (with a few exceptions, like the Abbey Road line). I'll simply purchase a similar plugin from a developer with better practices and policies.

Offset mode like ripple edit is one of those things enabled for a specific task and disabled ASAP. Leaving offset mode or ripple edit enabled is a highway to project hell.

Hi all. I have done all the one's I have. Grouped neatly per kit piece. Aliases removed. Checked. But it would be nice if people rechecked them. EZD2 Modern (No alias).map EZD2 Vintage (No alias).map EZD3 Bright Room.map EZD3 Main Room.map EZD3 Tight Room.map EZX Traditional Country (No alias).map EZX Vintage Rock (No alias).map

Mike at @Creative Sauce has a great video.