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Larry Jones

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  1. It took the OP three posts to actually ask a question about how to accomplish something in CbB. The next day, @David Baay gave an explanation of why CbB acts the way it does, and three ways to "fix" the issue. I suspect the OP has gone off now to make music with Cakewalk to add to his videos (made with super-complex video software), and doesn't need this forum any more.
  2. Or you could describe your setup and how it's all connected and what you are doing when the difficulty appears, and someone can probably tell you how to get up and running.
  3. You should contact support if you haven't already. Or @Noel Borthwickmight be interested in your techno odyssey.
  4. Clearly you should get another Apple computer. But if you must stay with Windows, ASIO4ALL is never a good idea. Get the MOTU-approved ASIO driver from their website. It should work better, and it may solve all your problems.
  5. I use impulse responses to change the sound of my acoustic guitar into a MUCH better-sounding acoustic guitar. It will probably work with an electric as well: https://discuss.cakewalk.com/index.php?/topic/5064-favorite-freeware-fx-thread/&do=findComment&comment=247156
  6. This is the workaround I use: Switch to sound on sound mode, and don't bother "punching in" at all. Just roll back a few bars and hit Record. Your existing content won't be erased and the new recording will be in a new clip on the same track. Once you get a good take you can select it along with the existing stuff on that track and bounce to clips. As @Billy86 notes, you may have to do a little PRV editing, but that's normal for me, due to my clumsy keyboard playing.
  7. @msmcleod - I hope this link works. It goes to a comment I added to the Favorite Freeware Thread, and it's my totally free method of souping up my bad-sounding acoustic guitar. It's light on step-by-step instructions, because I was just learning about using IRs. But smart people will figure it out, and it includes links to a huge free library of acoustic guitar IRs, as well as a useful (and free!) IR loader. By the way, I think I like your "before" guitar sound better than the "after." https://discuss.cakewalk.com/index.php?/topic/5064-favorite-freeware-fx-thread/&do=findComment&comment=247156
  8. Impulse Responses: Who Knew? tl;dr: NadIR and The Acoustic IR Database I've learned a lot -- and saved a lot of money -- from @Starship Krupa's Favorite Freeware FX Thread, and from the many contributors to it. I feel a little guilty at taking and never giving here, but I just don't seem to find anything out there that you guys haven't already found and reported (or in some cases, discarded). But here's my story: I have a Gibson J-160E that I bought at a Third Street pawn shop (San Francisco) in 1968. If you saw the movie "A Hard Days Night" you'll know the instrument. It's the acoustic/electric that John Lennon plays in the movie. When reporters later asked him to comment on the Hard Days Night tour he replied (paraphrasing) "It was good, but I lost me jumbo." The J-160E is not a jumbo (sorry John), but it is in fact the guitar that was stolen on that tour. Because of when and where I acquired mine, it's even money that it is, in fact, John's lost guitar. Yes, I know, some guy in San Diego claims he has the actual guitar, and a perfectly legible sales receipt from the Liverpool music store where John and George bought their 2 guitars 60 years ago. But there are enough twists and turns to the story that I will choose to believe that mine is the real one. I really don't think there's any way to know. But the main thing about this guitar is, it sucks. It has a very heavy top, to keep it from resonating too much and feeding back when you plug it in. This makes it a terrible acoustic guitar, because it doesn't resonate much. And as an electric guitar, it plays like an acoustic guitar. Which would be fine if it were a great acoustic, but (see above) it's not. It does have a real pickup on it, which may or may not be a P-90 or a P-100, which would be fine if it were a good electric guitar, but it's not. Still, it's the only acoustic I have, since I have had my own problems over the years with thieves and numbskulls. So whenever I need some acoustic strumming on a track, I dust off the old girl, mess around for a half hour with mic placement, and end up fiddling with chorus and EQ and finally burying it in the track, hoping no one will notice how bad it sounds. Until I discovered impulse responses. I vaguely understand that when I use an amp sim with a virtual speaker cabinet, someone has modeled that speaker cabinet. Turns out, the modeling is in the form of an impulse response. In Guitar Rig, TH3 and many other sims, you don't have to know this. You click on pictures of speaker cabinets until you find one that sounds right, and badabing. IRs are also the driving force behind convolution reverbs, but that's a different story. Anyway, I got curious about IRs one day, and started googling around, and here's the thing I'd like to contribute to the Favorite Freeware FX Thread: acoustic guitar IRs. OK, these are not, strictly speaking, effects, but the effect they have had on my old Gibson is amazing to me. People have been recording impulse responses from great-sounding guitars, and with a little free software, I can add an IR to my recorded guitar in Cakewalk, and it comes out sounding like a vintage, perfectly set up Martin D-28! Or any of hundreds of other beautiful and great-sounding guitars. How long has this been going on? It's like I've been transported back to 1969 and given the chance not to buy this stupid J-160E. You need an IR loader, and that would be NadIR, linked at the very beginning. It's free from Ignite amps, but it comes attached to their Emissary amp sim, so you have to also get that, which is OK, especially if you're into metal. Both are free, so you can't lose. (Personally I prefer Ignite's Anvil amp -- you have to scroll down to find The Anvil.) I've never used anything like NadIR before, and it felt a little like being at the controls of an alien spaceship, but if you try a few things, you'll figure it out, or you'll crash on a moon of Jupiter. It comes with a few speaker cabinet IRs that you can use if you want to hitch 'em up to the Emissary amp, but you really need to try some acoustic guitar IRs, and you can search from among hundreds of them using the handy Acoustic Guitar IR Database (also linked at the top). I think all the IRs are free, but I didn't look at every one of them. A little googling will reveal lots more places to get IRs. I've only used them in a very conservative way, to make one acoustic guitar sound a lot like a different acoustic guitar. I have a feeling IRs can also be used in extreme ways, and everything in between. The only drawback will be that you'll never get anything done, as you check out what your voice sounds like in the train station, or your snare drum at the bottom of the Grand Canyon.
  9. Haha. I thought it said Studio One was $99,399 and I thought "Why not just make it an even hundred grand?" Regarding Ableton and FL Studio, I haven't used them but I'd bet you can't do what you want in the entry-level versions, so at $749 and $899 those would actually be more expensive than SONAR was at its peak.
  10. No, actually I don't care if "young blood" uses CbB. If they do I'll welcome them, but it's not important to me how many kids jump in -- unless Bandlab finds they don't like the older demographic and decides to pull a Gibson. I was responding to @jackson white and @Starship Krupa, who were talking about "authenticity" and "artist vs. entertainer." Hope that clears things up.😎
  11. Haha. Bob Dylan in 1965: Do you think of yourself primarily as a singer or a poet? Oh, I think of myself more as a song and dance man, y’know. I'm with Bob: If you're not entertaining, no one will know (or care) if you're authentic or an artist.
  12. You can probably go back to NOT selecting a time range before you export. Obviously a stray node (or something) got inserted way the heck out to the right on your timeline on this particular project. If it happens again, you'll know what to do.
  13. I saw an episode of the Netflix series "Song Exploder" (a show where they pick a recording and document its evolution from first concept to finished production). The artist in this episode was Dua Lipa (25-year-old multiple Grammy winner), and in the first ten minutes literally everyone they introduced was identified as "co-writer." Later we meet her choreographer and her "vocal producer," who coaches her through the recording of the final vocal track. There were at least five co-writers and an even larger ensemble of producers, helpers, advisers and so on. Maybe the kids don't need forums, because they have a floating in-person forum surrounding them through the entire process, with everyone making suggestions and sharing ideas more or less continuously. When I was starting to learn my craft, such as it is, there were some songwriting teams consisting of two people (Gamble and Huff, Lennon and McCartney), and of course I knew about the Tin Pan Alley writing teams of the 1930s. But pop songwriting seemed to me to be primarily a solitary occupation, one person alone in a room with a guitar or a piano. So I found this level of group participation a bit odd. I guess the younger generations are more generous with their songwriting credits, or maybe they see the craft as a more collaborative thing. Good for them. Their productions are amazing, although the songs themselves seem a little, shall we say, unfocused. Oh -- the computer screens in the background seemed to show they were using Pro Tools, a traditional DAW.
  14. Watch your back, man. Those Microsoft death squads are everywhere.
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