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Robert Bone

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About Robert Bone

  • Birthday 10/27/1959

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  1. I got an email from Guitar Center, regarding some sort of fire hazard for a Line 6 product here is the link to the Line 6 recall page: https://line6.com/g10recall/ Bob Bone
  2. I have multiple HDTV's to pick from - I generally use a massive 65" HDTV for my main computer display, but also have a 55", 40", and 32" available. Most of what I do is MIDI-based, and I record guitars or basses using my laptop, I typically track my keyboards using the 40", and use the larger 55" or the 65" when editing or mixing. I used to run as many as 3 monitors, but just don't bother with that anymore - a single screen works fine for most stuff I work on. Certainly, actual real computer monitors tend to give a more precise picture, but I don't mind the quality of the picture on any of my HDTV's, for Cakewalk. Bob Bone
  3. Thanks - it was a labor of love - and a one-shot type of project. I completely agree on the notion of not wanting to pour a bunch of money into a mix, for a cover song, and I could have skipped the studio mix and done it in the box at home - just chose to do that for the outboard gear that particular studio had. To do that, was like my gift to myself, and my friend. I mix most everything in the box, at home, so outside of that one song, the issue will likely not repeat itself, unless I feel like treating myself again, at some point. Bob Bone
  4. I had no idea, and never thought about it, as we weren't trying to do anything but measure our music performance and production skills, celebrating a beautiful song by a fantastic band. The Copyright Claim on our cover version did not ask/require us to take the video down - it only indicates that we would not be eligible to make any money through YouTube views (which we never sought to do - quite the opposite, as booking the time in one of the largest studios in Chicago, for the mixing (they have insane outboard gear), was not cheap - I sprung several thousand dollars on the mix/master process, trying to bring the best gear available to bear on the project. To date, we have around 1,400 views, and quite a few of those are from Mike and I, just circling back to hear it, and to look for and respond to any posted comments (there haven't been many, but we want to make sure we are timely in replying to anybody who took the time to listen to the song, and also took the time to comment on it. We also included text and links in the video description, encouraging folks to support the recording band, the Dixie Dregs, by purchasing their albums and songs, with direct links to where folks could do just that. Here is a screenshot of the relevant text from our video description: Bob Bone
  5. Howdy - I did a cover of a Dixie Dregs tune, called Night Meets Light, and several years ago, posted it to YouTube. In my video, I scrolled through a bunch of public domain pictures of the various Dregs band members, changing the pictures every 5 seconds as the song played. SOOOO - either Steve Morse or his management/label put a copyright claim against my video, and that has me wondering - if I record myself playing someone's song, like I did here, why would that be considered a copyright violation? I used ZERO part of the original recording by the Dregs - every last note in my cover, was played by me, for most of the tracks, and a friend of mine, who played only the guitar tracks. (I covered drums, bass, keys, and violin, using soft synths). If I perform someone's song, where I am not pursuing making any money off of it, am I still violating copyright laws? I hope someone can give me a good response on this. Here is the link to the cover of Night Meets Light, in case anyone wants to listen to it. It is quite a complex song, due to numerous, and sneaky, meter changes). The song is beautiful, and there is a bass and guitar unison section in the middle, that is flat out brilliant. Thanks, Bob Bone
  6. It may be possible that you moved the port the A-300 was connected to, and that can confuse Cakewalk, which will look like everything is fine, but really the internal identification of it has gotten whacky, and it won't respond to MIDI, but only in Cakewalk, meaning it will work fine in other programs, such as in stand-alone synths or a different DAW. I wish I could explain this potential cause better, but it has been several years since I have had this happen, because I never ever change which USB ports my keyboards are connected to. I am hopeful that someone else can weigh in on this issue for you - I would have to dig through stuff to go back and figure out what I did to fix it, from 3 years ago, and I have a pretty adventure-filled day today. If nobody else has helped you out by late afternoon or early evening, I will try to circle back to dig into my prior experiences with it. Bob Bone
  7. Sorry - I do not know - I have no familiarity with the nanoKontrol2, and all I did for my earlier post, was to pull up the blurb I posted - from the manual. Did you read the earlier post(s) with steps to follow? The only other thing I can think of is for you to contact Native-Instruments support. In the past, I had called them on 2-3 occasions, and they helped me right out. I called the main tech support in Germany, but there was one time where I called Native-Instruments in the states - might have been California, but the info for contacting them is on their web site - or at least it used to be. Bob Bone
  8. No trouble at all. All I did was to clean up things a bit. (still room for improvement). I uploaded what I have for CAL to Dropbox, in a compressed folder less than 6 MB in size, that contains CAL documentation and examples. an editor, and a bunch of CAL scripts. The download link is: CAL Documentation, scripts. and editor
  9. Good morning. I started to gather the CAL documentation I have, as well as a bunch of scripts, and an editor app, last night - but fell asleep. I will continue getting that stuff organized better, so it can be shared.
  10. Shoot me a private message with an email address, and I will send you what I have on the CAL language
  11. It is also important - and required by the terms of service for these forums, that we all be respectful of each other, and let's also all remember that we are indeed all on the same team, so let's make sure to remain positive and courteous in our posts, so us forum host folks don't have to wade into some flame war between folks. Try to resist arguing with folks, or escalating post wars - it is for the best, and certainly helps keep these forums the helpful place as intended. Just everybody be kewl, stay kewl, and live kewl. Bob Bone
  12. Yeah - I will concur with the other person that cautioned against using a ThreadSchedulingModel value of '3'. Noel had indicated, many months back, that we should NOT be using the aggressive mode (value of 3), because it was still a work in progress, and not stable. The default for that parameter is 1, and for most computers, you will likely benefit from changing that value to '2'. Here is a screenshot of setting that in Preferences, and you can always modify it back to a value of '1', if any issues arise with it set to '2'. Screenshot below - Bob Bone
  13. While CAL, as a language, has not been maintained for many many many many years, it DOES still work, and I write little scripts. or modify existing ones as needed, for little things that come up now and then, for which a script would come in handy. For example, I just wrote a little CAL script to help me edit MIDI data for drum tracks, where I had created the MIDI track using one drum library and its set of drum synth note numbers, and I wanted to switch to a different drum library that I liked better, which used different MIDI note numbers. While there are lots of ways of doing many things, I chose to whip up a little CAL script to allow me to enter one MIDI note number, and also enter a replacement MIDI note number, and the script would sweep the selected MIDI track/clip and replace all occurrences of the 1st entered note number, with the 2nd entered note number. Works like a champ, and I use the script whenever I replace one drum library with another. Yes, I could have done it using different methods - I just felt like doing it with a CAL script, and all is well. Another example - I have MIDI files for numerous pop songs, that I downloaded, where the entire score, for example, is written in the key of C. Unfortunately, that also includes the staves for instruments that are not tuned to a standard 'C' tuning (alto saxophone is an Eb instrument, trumpet is a Bb instrument, etc). SO, I wrote a CAL script to do custom transposition from whatever the starting key is, either up or down whatever number of helf-steps I enter, and then when I import the modified MIDI file in a notation program, even the free ones, it properly notates that MIDI track for the correct tuning for the associated instrument. In most cases, this is something I do for a friend of mine's wife, as she plays alto sax. I have a bunch of CAL documentation and example scripts, if anybody wants them - even a CAL editor. Just shoot me a private message with an email address and I will happily send you what I have. Bob Bone
  14. I always check freeware through the VirusTital web site, which sends URL's, or in this case, the Surge downloaded executable file, and it detects a single report of malware. Has anybody seen any malware problems with Surge?
  15. Exactly! Yup! ( I concur with what @Sidney Earl Goodroe said, above). It is important to keep one's latency low, during recording. Once the project moves into mixing/mastering, THAT is when you can enlarge the ASIO Buffer Size to something like 1024 or 2048, and load up linear phase plugins, or convolution reverb, or other resource intensive types plugins, because latency isn't an issue at that point in a project's life cycle. If you have finished recording, and started mixing, and loaded up the heavy-duty buffer-hungry effects, only to find out you have some additional recording to do - I suggest you either temporarily freeze tracks that use those effects, or temporarily turn off any effects that require a larger ASIO Buffer Size, and change your ASIO Buffer Size back down to 128 or less, if possible, so that your latency is low enough to properly record without lag or other audio issues. Then, once finished fixing the recorded tracks, you can turn those effects back on, or unfreeze the frozen tracks, and jack up the ASIO Buffer Size back up to 1024/2048 and resume mixing, etc..... So, 128 or less, if possible when recording, and 1024 or 2048, when mixing/mastering. It is pretty much the way of the world, forever. Bob Bone
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