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https://download.plugivery.com/pvdl/?do=browse&dir=release&os=windows&prod=Magnetics-Bundle&bid=39 Free for existing VST 2 license holders (individual or bundle).

Use code EARTHDAY2024 https://www.kvraudio.com/marketplace/deals

Beautiful scalable GUI's and free to existing users. Nomad Factory huge respect 😉

Over 11 Hours of Top-Rated FabFilter Tutorials - Only $35 (Reg $165) https://www.groove3.com/promo/fabfilter-power-bundle

For an user that has HDS1 (old version), $2.99 for the upgrade to HDS1 MK2 👉 Tip Planer has a special price with a 90% off with the code PLAN90 (for 8 hours just now) If you have the old version of HDS1 and add HDS1 MK2 and Planer at the cart, using the code PLAN90, your price will be $1.20 for both

My recommendations: Make sure Windows is completely up to date with updates. Run sfc /scannow within PowerShell and ensure there are no system inconsistencies. If it tells you there are and they can't be repaired, use DISM /Online /Cleanup-Image /RestoreHealth, then run sfc /scannow again. At the very least, make a backup of your existing system drive, but if possible clone the drive to a new one (here's your chance to get a bigger SSD!), and swap the drives you you're now using the new one. Make sure it's a deep-clone as you want the partition id's to be identical. Clonezilla (which is free) can do this. Download/install Belarc Advisor, and print out a report. This will tell you what software you have installed, and in at least half of them, what your licence key is. Do an inventory of your applications and VST's, and make sure you've got the license keys handy. This is where iLok is awesome, because there's nothing to do for them - it'll just work. For applications/plugins that will only authorize on a certain number of computers, unauthorize them now - especially ones that don't let you "manage" your authorizations online (e.g. Band in a Box, Magix products). Those that do (e.g. XLN Audio), should be fine - you can just replace the old authorization with the new one. IK Multimedia products should be unauthorized via the product manager, otherwise you run the risk of running out of authorizations. If you've got space on a portable drive, do another backup. Perform the upgrade If you get crashes/errors during the upgrade, check your drivers. I find DriverView from www.nirsoft.net useful for this. It'll list all of your drivers so you can check them. You can then go into Computer Management within Windows to uninstall any old ones you don't use any more. For problem drivers that won't go away, use DriverView to identify the .sys file, and rename it to .old. One such driver was Native Instrument's file system driver, which was used in Windows 7 for making their install .iso files look like a fake cd... this wasn't needed for Windows 10 and above, but caused issues upgrading. Finally, if you do need to try the upgrade again, restore your backup before you upgrade again. This will ensure you're starting from a pre-upgrade system image before anything went wrong. Once everything has upgraded, go through the process of authorizing all your software/plugins again.

If you're not too keen on holding points against a future buy at $1 per point, EveryPlugin is now beating the basic KVR & JRR Shop price at $526.81 for the Total Bundle. The competition is fierce! Well that was good enough for me, EveryPlugin sent the license code after about 10 minutes, and it's now all registered and working.

Review: https://bedroomproducersblog.com/2024/04/23/ostirus/ D/L: https://dsp56300.wordpress.com/ostirus-downloads/ Note: As with all previous releases, the emulator itself is free. However, you do have to provide a legally acquired Virus Ti firmware file to make the most of it. If you can swing that, you’re in for one of the best softsynths in recent memory.

https://www.westwoodinstruments.com/roots/ I've Bapu'd it and can vouch for its usefulness for evolving dark ambient and cinematic textures. I'd say that between this and Soundpaint's free libraries, you've got ambient drone-in-box. And it looks as if Westwood will be doing what others have started doing and releasing future free Player instruments in this line, so sign up for their newsletter if you want to stay informed. Kontakt-aware peeplz: did NI change the licensing for Player instruments recently? Because I'm starting to see a LOT more Player-compatible instruments for free. It used to be that the creator of any Player-compatible instrument had to cough up a fee to NI for doing so. Has that been relaxed? If so, good idea, because it's an excellent way to raise interest in Kontakt. Always has been, they just botched it. I wouldn't have installed or been aware of Kontakt if it hadn't been for DrumMic'a back in the day. Unfortunately, Sennheiser eventually decided it wasn't worth it and stopped issuing licenses. DrumMic'a was both an excellent free drum instrument and also worked for its intended use as a showcase for Sennheiser's line of microphones.

Review: https://bedroomproducersblog.com/2024/04/22/the-kiss-of-shame/ D/L: https://github.com/hollance/TheKissOfShame/releases

one of the nice features of AD - is it's built in mapping tool. depending on where i'm importing the MIDI from, i can usually find one to plug in directly using just a default AD drum map (and without one as well -- i use the drum map simply to have the names, not that i'm mapping anything specific).

This whole the music today is better than the music of my youth debate got settled a long time ago for me... First off, every musician I ever knew never bought a record and listened to the first listen of the record all by his or her lonesome .Typically there would be 8 people jammed into the guys mothers basement or toughing it out in his smoke filled bedroom elbow to elbow hunched over passing the album around so everybody can see the art work as the songs played . I don't care who you were , when you bought a new guitar those same 8 guys would show up at your house and then we would pass that guitar around person to person just like an Indian Chief would pass around the ceremonial peace pipe . Music was an event that was meant to be shared ..... People of my era knew this and they gathered around Musical activities and hung out socially to feel the buzz and effects of the music collectively . When somebody bought a new pedal or learned how to play a Pink Floyd guitar solo we would all get together and teach each other how to play it ... Nobody I knew played music in a vacuum . If you played the chords to Stairway To Heaven wrong two things would happen . The luscious succulent hottie you were trying to impress knew how the song was so posed to go because the other 7 guys from the 8 I mentioned before had already played it for her so she would have to bow out of your advances ...In any case just when you felt the devastation of having just failed one of the other guys would pull you aside and show you how to play the song correctly . Every one I knew would practice together . And I'm not just talking about my high school pals ...I wont drop names right now but I have always had people that wanted to learn tunes and woodshed together ....I'm gonna take that info to the grave with me simply because nobody would believe me if I mentioned some of the people that have asked me to show them what I just did .Name Cats on the covers of mags in some cases . I have met everybody I have wanted to meet except for Santana and Leslie West . I feel very fortunate to have gotten my feet wet in music at a time when 20 bucks would get you in the door ....When I didn't have the 20 I would find out where the equipment truck was and I told them I would unload and help them set up and more often than not they would hand me the guitars and amps and I would walk then into the theater . When Roy Buchanan played Town Hall in the mid 70's I sat right there a little off to the side at his feet on stage ...I will always remember that show ... Now 'm not trying to take you guys down memory lane but I have met and hung with every body musical from all genres of music at a time when the artist was approachable , the concerts were priced reasonably and the music was relevant ... So for me what they call music now simply does not hold the appeal it may as it does for younger people ....I'm just not into watching a scantly dressed singer lip syncing while shaking her booty with 50 back up dancers evading explosions and streams of light ... Everyone I ever wanted to meet in real life and hear them perform is a blessing too me ....maybe some day I'll drop names ..not today all the best Kenny

Now, block this forum on your router and never buy anything ever again because that’s all you will ever need.

Extra discount with code FORUM https://www.jrrshop.com/soundtoys?dir=desc&order=special_from_date

This might be the right place to confess that I was never much of a fan of the "Top-Whatever" list... In fact, as I grew older, I would buy albums and listen primarily to the songs that weren't the so-called big hits on those albums...

https://soundclick.com/share.cfm?id=14769593 rusty scalpel cuts to the bone for all to see what you've become not so sure if the wound will heal but it doesn;t really matter because you bled out long ago rocky crag from which to bound on wings of spittle and hopes of smoke thirty minute climb for the three second fall you're back where you started broken and un whole smoke and mirrors and empty bottles broken promises and busted dreams you're standing there naked for all to see pity yourself and remember when the cloth was whole but the stain was there why did you ever fall upon your knees The devil whispers sweet nothings in your ear two arms to cling too the talons take hold restless death grip upon your soul and futile is your squirm

It's a shame that such a kewl looking plugin has to be garbage

Phew - I have a desktop so I'm excluded.

Wow – if that's the reality, that would be disappointing. Hope there's a good explanation for it.

From one of the comments in the blog: “There are two tape formulas to choose from… ” “My favorite feature is the print-through… ” But as the developer states, “Print though” and “Tape Type” are both not functional. 🤣 Apparently, BPB has been "reviewing" plugins without actually testing them... Also, the meaning of name of the plugin: "Osculum infame is a witch's supposed ritual greeting upon meeting with the Devil. The name means the 'shameful kiss' or 'kiss of shame', since it involved kissing the devil's *****, his "other" mouth. According to folklore, it was this kiss that allowed the Devil to seduce women. " Everything about this plugin appears to be shameful...😂

from manual... (Info reorganized for easier reading, used bold font) In comparison to the previous versions of Nomad Factory Magnetics Bundle, this new version features an improved and optimized DSP, a wonderful resizable new UI with 2 skins, VST3 and Apple Silicon support, oversampling and many more improvements. Have fun! The Plugivery Team. The v3 is not compatible with v2 sessions or presets. They are completely new plug-ins and thus won't replace the v1 and v2, so you can still use them to reload your previous work.

$59.50 for each region, mind you, so really $300. Free upgrade for World Percussion 2.0 owners, but they've moved the tuned percussion to a new library called World Percussion Tuned. In return, a bunch of newly recorded untuned stuff has secretly been added to the regular libraries.

Though I like that they updated these products, I have to mention those aspects: The plugins are now about 10 times the old size. I hope this has no effect to the performance, because I liked that the Nomad plugins have been very light on resource consumption. Nowadays online documentations drive me crazy! I prefer pdf documents, that's why I investigated a lot of time to convert online manuals to pdf. But there are so many obstacles! And their online manual creates new problems! It seems the future is more and more regress IMHO (somehow back to stoneage)! The new looks are somehow unemotional compared to their predecessors, but YMMV. Positive: I really like that it is now possible to input values (double click)! This is sometimes much easier than screw with the mouse!

Yep - I'm really glad I bought their stuff a few years back. Good developers to support.

Almost forgot..... Installed!

Session Drummer 3 has been reissued recently

PICK4 is the better deal

Greg, you've received some good advice which can help you in the long run. However, without hearing a sample of your vocals, it's nearly impossible to give you precise advice. You might get better help if you posted a sample of your song or vocal for our ears to hear on our systems. I know that many singers don't like the sound of their own voice, yet others might like it anyway. I used to be that way until I discovered that it was my ears that were faulty and not my equipment or room. Eventually, I learned to overcome that disability by posting songs on the song forum, and I learned from a consensus of opinions where my weakness was and made adjustments accordingly. I'm not saying your ears are bad; just that sometimes ears need a little training. It's like getting used to your monitors and knowing their strengths and weaknesses. Good luck!

Nice! I know it's not their most popular product, but I really hope they update Camel... such a nice channel strip!

The Player stuff aside, most of the full BFD3 sounds are very high quality. It is really sad that InMusic has bobbled the ball so often on its implementation since buying it. I’m also a fan of the Platinum Samples guys. The Baresi kits were one of the first separate kits I bought, and they have a certain organic feel that is characteristic of a lot of the BFD3 stuff. Back in the day, they also made the Baresi stuff available for Superior Drummer as well.

Run the UPP to update

I'm gonna push back against some of what you said here. Sure, back in the day the Top Ten was always jam packed with candy floss toss, but that was music for the general public. I remember my step father used to DJ on river boat parties, and he'd buy the top-ten singles every week, because he knew they were the ones most people would ask for. He had crates full of top ten singles from the previous years, and I would sometimes go through them hoping to find a gem. As you can imagine, most of it was trash. Anyone remember Tarzan Boy? Crazy Frog? Those were the songs people wanted to listen to. That was for the masses. But we are not talking about that here, right? We are talking about high musicianship and connoisseurship. There used to be places for people like that . In the UK, there were late night DJs like John Peel who would introduce niche audiences to niche music. My friends and I would tape his shows because you were guaranteed to discover a gem each time (on a side note, I was luck enough to have my single be played by him shortly before his passing). Then there was the indie scene. I grew up buying bootlegs and test pressings from small indie record shops. They were places to hang out, meet like minded people, even meet the bands sometimes. That was a far cry from big labels. Sure you had to make the effort to go to the shop....but you were likely to get recommended something great by the guy behind the counter, and that personal touch meant a whole lot more than the 'other buyers also liked' suggestion at the bottom of your Amazon order or YouTube page. They were places of community. Also, how did a teenager living in the suburbs of the UK get to know about American indie music? DIY Skateboard videos is where. Before the internet, we used to circulate low quality skateboard videos. That was where I discovered Sonic Youth, Dinosaur Jnr, Black Flag, Husker Du etc. Sure there was MTV, but most kids I knew didn't have MTV or cable or satellite. Later on, in my 20s, it was boutique labels that introduced me to the best music. If you liked Bjork, you'd check out the rest of One Little Indian's roster. If you were into Badly Drawn Boy, you'd check out the other artists on Twisted Nerve. The labels were a form of curation, just as great DJs were curators. Not everyone was in the pockets of big labels, and not every label was out to shaft the little guys. Many of them where like small families. However, that all seems to have gone now. Sure, there are still labels (online and offline) but they are trying to stay afloat in an ocean of trash. Sure there are playlist curators....but.....comon.....seriously? It's not that the Brave New World of the internet self distribution doesn't have its pros (I can now write a song, record it in a day, and have it up on-line in 24 hours - whoopy), it's that any level of real curation has fallen to the wayside. The so-called gate-keepers were there to slow down the onslaught of sludge. I'll explain a bit more clearly from my own personal experience. A few years ago I decided to explore the world of internet radio. There are lots and lots of legitimate radio stations on-line which will accept open submission from unknows, unsigned artists. I started pushing my stuff wondering if this might lead somewhere. As I'm sure you all know, if you have an account with Spotify or Bandcamp etc, you can see your stats on a daily basis, you can monitor the progress. You can see when, where, even who, listens to your music. (I don't think this is always a healthy thing). Well over the course of two years having my music playing on loads of radio stations (sometimes on a daily basis), being nominated for an award, being put into dozens and dozens of playlists, the impact on my stats was....nothing. Most playlists are never listened to by anyone other than the artists on them (just sign up to one of the many playlists on X/Twitter and you'll receive your set of instructions to stream the entire playlist daily to 'improve' each others stats). Those radio stations (I suspect) are not listened to by anyone other than the artists on them either. It started to feel like nothing more than a vanity project. Now, take into account the millions and millions of songs being self released every day; where is the audience for them? That is, in my opinion, the problem with the internet model. The sheer volume and the lack of curation. @Starship Krupa what I'm specifically kicking back against is when you said 'it's the lack of effort' that people put into finding new music. I disagree. Suggesting that the listener isn't trying hard enough to find new music when they have to wade through a sea of millions and millions of mediocre (or worse) self-published stuff is disregarding just how frustrating it has become. And let's also be clear. We don't just search out music that sounds good. We want a story. We want a package. We want a brand. That's why the people who are good at self promotion are the top feeders. But being internet savvy and good at promotion doesn't necessarily make someone a great writer of player. Let's be honest, to get to the level of Lenny Breau you'd have to be playing for hours each day...not servicing your online accounts and pushing content. But that's what it has become. When I was talking with a mentor he told me a thing that I recognize to be sadly true. 'It's not about the music anymore. The music is just a freebie'. No-one want to pay for music anymore. So musicians are now having to use the music as ways into selling something else. At the moment the big trends are services promising the keys to the kingdom. Promises of increasing your Spotify stats if you sign up to their course. Promises of perfect mixes if you sign up to their course. The music is just an end product, like the crappy pottery experiments that are the end result of that 2 week pottery course. The music has become devalued to such a level that it means nothing. Sure there are still great musicians out there. Sure we can go look for them. But it's like me putting you in a shipping container yard in Shanghai and telling you to find a great pair of shoes: they are in there somewhere, but how much effort are you going to put into finding them?

$62 Thomann 70th Anniversary-Native Instruments Komplete Collection 70th LTD https://www.thomannmusic.com/native_instruments_komplete_collection_70th_ltd.htm Plug-In Bundle (Download) Exclusive Thomann 70th Anniversary Plugin-Bundle 7 Decades of iconic sounds with 7 Native Instruments keyboards and synthesizers spanning 70 years 1950s - Vintage Organs: Contains five legendary tone-wheel and combo organs from the 1950s and beyond Based on samples from Hammond B-3, C-3, M-3, Vox Continental II and FARFISA Compact 1960s - Stacks: Keyboard sounds from the heyday of Soul and R&B, reworked for contemporary music styles Over 150 presets with relaxed leads, extraordinary keyboards and organs, live basses, horns, strings and vintage synths 1970s - Monark: The legendary mono synthesiser that started it all Classic monosynth basses and wide lead sounds with an organic sound and simple operation for almost all styles 1980er Jahre - Retro Machines Mk2: A collection of rare synthesiser sounds from the New Wave era Uniform user interface for operating 16 important analogue vintage synthesisers and keyboards 1990s - Reaktor: One of the first software synthesisers Enables virtual modular synthesis, sampling and effects with an almost endless number of modules for sound generation and processing 2000s - Massive: A genre-defining virtual analogue wavetable synthesiser Comes with a comprehensive library of 1300 presets 2010s - Blocks Primes: The modular renaissance with over 50 presets racks and 23 versatile Blocks modules for sound synthesis, sequencing and effects

Another native bundle here also $62 to get. https://www.thomannmusic.com/native_instruments_studio_collection_70th_ltd.htm Plug-In Bundle (Download) Exclusive Thomann 70th Anniversary Plug-in bundle 7 Plug-ins from iZotope Plugin Alliance and Native Instruments for every decade from 70 years of Thomann 1950s - Native Instruments Guitar Rig 7 LE: Creative guitar effects playground Reduced version of Guitar Rig 7 Pro with an inspiring selection of classic amps and cabinets as well as delay and reverb effects, stompboxes and compressors 1960s - Brainworx ACME Opticom XLA 3: Careful emulation of the legendary Opticom XLA-3 optocompressor in tube technology Numerous useful enhancements such as parallel compression, adjustable output level and adjustable noise component 1970s - Brainworx bx_oberhausen: Meticulous simulation of a well-known synthesiser module with classic two-pin state-variable filter and up to 32 voices of polyphony 1980s - Brainworx bx_console_SSL4000G: Emulates an iconic large format mixing console Precisely replicates the signal path, workflow and sound of the original Solid State Logic channel strip at component level in a channel strip plug-in 1990s - Brainworx SPL Transient Designer Plus: Innovative dynamics processor based on SPL's Differential Envelope Technology Level independent processing of signal transients 2000s - iZotope Ozone 11 Elements: AI-powered mastering plug-in with Master Assistant Matching technology for sound, dynamics and stereo width as well as Vocal Checker for matching vocals in the mix 2010s - iZotope RX 10 Elements: Smart solution for audio restoration With basic tools for restoring and repairing audio data for content creators and home studios

I didn’t say above. Also, I tried it for like 5 minutes before going THEY BUTCHERED MY BOY!!! and uninstalling. BFD3 and especially the Dark Farm expansion is the deepest sampled and best sounding drum library I'm aware of. I mean, one particular Dark Farm hi-hat alone is like 9 GB IIRC. BFD Player sounds like they removed literally 90% of velocity layers and other details and went „this is good enough for the average user anyway“. And I don’t think it is. Let alone drummers and anyone trying to use it for more than quick demos.

I haven't been to France yet, but it's on my list. I played in a band, here in the USA with a French man who went back to France and became famous, Gilbert Montagne. I've been to Quebec, Canada, which has a lot of French-speaking people, and I enjoyed it. I play in an RV park when man of them spend the winter, and they are a great audience. One of these days I'll get to France. We can only take one vacation per year, and we have been visiting places that are changing rapidly. Before COVID we were planning to go to Madagascar. But we put that off, after the lockdown, and with their internal troubles, it's been put on the proverbial back burner. This year we went to Hawaii, while Kilauea was erupting.

Are you using WiFi or Ethernet? If WiFi - try running Ethernet cable(s) to your router, it should make a significant difference. I've got a 100ft cable running from router in living room to my office. You can pick up ready made Ethernet patch cables on Amazon for cheap. Amazon.com Cat5e 50FT Network Ethernet Patch Cable Amazon.com: Cat 6 Ethernet Cable 100 ft Latency in Ethernet cables is roughly 5 ns per meter - so not an issue for 100ft cable.

THANK YOU! This has long been my line. Old farts go on about how the top 10 these days is such total crap compared to when they were young. Oh, you mean back when "Having My Baby" and "You Light Up My Life" went to #1? How many Led Zeppelin songs made it to even the top 40? "Whole Lotta Love" and how many others? Finding cool and interesting music has always taken effort. It's actually so much easier now to find exciting music than it was back in the day when the only way to have your music heard nationally was to please both corporation-owned record companies and corporate-owned radio stations. Yeah, we had "freeform" FM stations, but much of their programming was also playlisted. Sure, maybe you'd see a review in corporate-owned Rolling Stone or Spin or whatever and check it out, but that was it. All the rest of it had to come via word of mouth, record store clerks, indie labels we trusted, later, college radio, going out to shows and liking the opening act, sitting through half a dozen MTV videos to find something you liked, etc. People don't remember but it took WORK. But today we're in a world where, thanks to the internet, I can sit here at home, create a song, and put it up for sale. And I get to keep 90% of the money rather than the 10% artists used to get from record sales (if they were lucky). And as a consumer, I have access to so much written information and recommendations based on my tastes, either curated or by algorithms. College stations are still around, and I can listen to every college station in the world if I want to. Even YouTube recommendations are a good way. I clicked Watch on YouTube on the Lenny Breau video and got 2 documentaries and a TV performance. Keep clicking and the algo will point you at similar artists. And, friend recommendation, anyone who liked the Lenny Breau song should check out the all-but-forgotten Sandy Bull. So ahead of his time. When was the last time you asked a friend if they were listening to anything new and exciting? I throw it in other geezers' faces: if you think "today's music" sucks, it's not the music that sucks, it's the lack of effort you put in to seeking it out. Don't stay in your Spotify comfort cocoon. When people get older, we tend to seek comfort more than novelty. Finding new music that moves us takes us to new places, emotionally, culturally, and that's risky in a way. And if you hear a bunch of meh music along the way, well, we've always had to wade through stuff that didn't move us to find the stuff that did. In other words, don't stop rockin'.

The difference there is a musician can be a player and support the song or you can be the one delivering the song. The best gig I ever had was for 4 years I was an activity worker in a care home. I played my guitar every day and sang old songs. This is we’re I learned it’s more about the lyrics to the old songs than the music. Even though I was capable of soloing I never did. The focus was always the chorus. An example was we brought in these friends of mine who had a jazz quartet and they played old standards but no vocals. There was no reaction from the residents. When I did the sing alongs everybody reacted and most tried their best to sing along. We also learned lyrics sheets were a waist of time for all but the few who were still at that level. You might not remember the name of your daughter but you can sing the chorus to Home on Range

That's where you and I differ. Lyrics have always been important to me. There are songs that still make me cry on the spin of a lyric. This is especially true when I know that lyric comes from a place of pain. My own lyric writing has always been painful. Sometimes laying bear your emotions or revealing a side of yourself that you usually keep hidden. It's like standing naked before the crowd. And it's this laying bear of the soul that I've got to stop. It's self destructive and brings me no joy anymore.

This will be one of my last posts as a normal person. I'll be writing you soon from a white sand beach, surrounded by beautiful girls in bikinis.

Haven't seen any buzz about the two new uprights. Kinda curious about those suckers.

Cosmic Rough Riders - Baby You're So Free

You can get the Soundtoys bundle down to like $214 with KVR points. Not bad.

I'd park the gear away for a couple of years and then see how you feel. Decent mics/instruments will probably gain value and get a higher selling price (probably a better return than many types of investment). Plugins and various types of electronics probably not.

What do you think is the message here...?

The Color Scheme above is called Dark and is the one I personally prefer. But there are nine different Color Schemes in Sonar to choose from:

headphones? sony mdr-7506 here