Starship Krupa

You are correct. I set up a new DAW computer for a friend, and rather than have him give me his email password so that I could respond to the myriad account confirmation messages, I made him a new Proton Mail account for the primary purpose of setting up accounts at all of the different companies whose free software I'd be installing. First account was BandLab, so I could install CbB. Same problem you had. Proton Mail informed me, though, that due to past abuse, they require an extra step of new account verification before you can start receiving and replying to 3rd-party account verification messages. I don't remember what it was, maybe verification via another existing email address, but whatever it was, it worked.

Not a big Next user, but the last time I tried it, it allowed me to save and load projects.

They are included with both CbB and Sonar. With CbB all you need to do is watch the video in the post immediately prior to yours and follow the instructions.

ST4 still has the known bug that loading and unloading too many presets in one session will crash it. This is in any DAW or the standalone. It's a real pain in the a55 when you want to audition a lot of different presets. Been reported many times on the IK Multimedia forum with no solution offered.

Mike has MANY free highly useful and instructive videos about Cakewalk on his channel. He also has a more in-depth course you can buy, and he (horrors!) mentions this fact briefly in his videos. He also pitches a music distribution service. This doesn't make his free videos any less useful. We all have to eat. There are MANY other YouTube channels that feature instruction in how to use Cakewalk. There is a list of them in the Tutorials section of this forum.

Right click in the Track Header area on the left side of Track View and select "Insert Instrument" from the resulting context menu. Be sure to check out the Bandcamp page in my sig as well as my YouTube channel. Don't forget to like and subscribe.🙄

I'll mention here that AD2 actually has been updated recently, with not only a new look to the UI, but new tools for creating and modifying beats. The new version is 2.6 and is a free update for all owners of AD2 licenses. They created a TON of good will with that update, and a TON of new interest in the product.

But since it's a plug-in, you're free to use as many instances as your system can handle. One of the advantages that plugins have over hardware.

It seems that the Cakewalk VST scanner has incorrectly identified the plug-ins. This can happen, although it happens very infrequently. My suggestion is that you open Preferences and in File/VST Settings, force a complete re-scan.

I don't know what a "vts scan box" is, so you need to give more information on that. Missing plug-ins is usually a matter of going into Preferences/Files/VST Settings and making sure that the path to the folder where you have installed your VST plug-ins is listed. In my case, my VST2 plug-ins are in S:\VST, so I have that set in Preferences. The file location for VST3 plug-ins is usually already set in Sonar because VST3's have a canonical location they all install to (C\Program Files\Common Files\VST3). Check those preferences settings. Uninstalling CbB shouldn't delete any plug-ins other than the ones that come with CbB, and those all come with Sonar as well. The only exception I can think of would be if you had your VST2's installed to a subfolder of the Cakewalk folder.

Good lord, what a nightmare, on multiple levels. In the debate about whether it's possible for one DAW to sound different from another, I've always been focused on the playback and rendering side of things. I've always taken it on deep faith that any raw recorded audio would be identical. After all, the DAW "only" has the job of taking in the zeroes and ones from the driver and putting them, with no changes, into files. Now I'm reading here that it is at least possible for DAW A to interact with an ASIO driver in such a way that audio recordings are mangled, while DAW B may not have that issue? That's nightmare fuel given how PC's are very complex systems whose parts (usually the drivers) often interact with each other in unexpected ways. I've had it happen that swapping out my video card miraculously cured my audio dropout issues. What, exactly was the issue, and what, exactly, was the fix, I wonder. And I don't mean top-level "Focusrite fixed their driver," I mean "what went wrong with the driver that Ableton was able to deal with it and Sonar wasn't?" and "is the way that Ableton and Sonar talk to the driver that different?" Time to go take the anti-anxiety meds....

I get the impression that they're not so interested in legacy support in general.

https://gooeyaudio.com/plugins/visage/ "Visage is a stereo fattener and pan sculpter (sic)" Haven't tried it, but it looks like it might be useful for people like me who like to mess with the spatial image.

I've used Dells for music production because they are built like tanks and available at low prices on the used (and even free) market. The caveats with them are that they are built to be workhorse business machines, and as such, the BIOSes are pretty locked down. Also they are notorious for LatencyMon reporting a lot of action with the driver ACPI.sys. This is true for my current Dell laptop, but it manages to handle DAW work without crackles and dropouts, so who knows. Depending on how much you have to spend, there are companies that make laptops specifically for music production. Lenovo has a page on their site with laptops they recommend for music production, so they're at least aware of that use of their products. https://www.lenovo.com/us/en/d/workstation-laptop-for-music-production/

Luiz, you are in the right place, but unfortunately only one person in this forum has posted a ProChannel preset for download. The other topics are about various things, mostly not ProChannel presets. I don't know how to help.

You're thinking of T-RackS. This is T. Rex.

For a band that only released two records, it seems like Great Thread influenced so many musicians. Obviously they had songs, Many more being a double album. Curious why Many more is the only album where you give the artist's name. Srsly, I only know about half of those albums by title alone. Why no artist names?

It's one of those things: Herb Alpert putting together a new TJB and touring with them, at age 90, is something that I had thought entirely outside of the realm of possibility. My mother got to see Herb and the original touring band (Bob Edmonson, Tonni Kalash, John Pisano, etc.) in 1967 at the Santa Monica Civic Auditorium and I've always been in awe of that. She says that it kicked the amount of ***** you would expect; he opened the show with the curtain closed, playing the opening fanfare of "The Lonely Bull" before opening the curtains as the whole band kicked in. So given that the first show at the Dolby Theater (like Santa Monica Civic Auditorium 60 years ago, the current venue of the Academy Awards show) sold out by the time I found out he was touring, and then they added another show....it's like, when God answers your prayers, the least you can do is meet Him halfway. If I didn't go see Herb and the TJB on what is likely the last tour he'll ever do, I would regret it every day of the rest of my life. I've seen some audience shot videos of gigs on this tour. Herb is playing well and the band is great. "This Guy's In Love With You" seems to always be an audience sing-along, and I foresee losing my 5hit when that happens. A good friend of mine lives in Indiana, and before they added the second show, I considered going to see one of the shows at an arts center in the Indianapolis metro area, but as it turned out, they were already completely sold out. I shortly thereafter found out that this year's Holiday Dapper Day at Disneyland is on November 16th, so I decided to hit that as well. Dapper Day is something that I stumbled upon almost 10 years ago completely by accident. I went to Disneyland and kept seeing all these sharp dressed, really nice people. It was pleasantly weird to be there with so many people who weren't slogging around in standard frumpy tourist wear, and I promised myself that I would go back someday. The same old friend in Indiana is really into mid-century style and dressing sharp, and I talked him into flying out to hit Dapper Day with me. It is SO the kind of thing he will love. Again, if I didn't also hit Dapper Day, I might never make it again and would regret it greatly. So it's a whole long weekend adventure. I can't remember the last time I planned and took a "vacation" like this. I'm also going to try to work in a pilgrimage to Professional Drum Shop in Hollywood while I'm down there.

I won't be able to think of all of them immediately. I've been into different genres over the years so what's influenced me has depended on what music I am making at the time. (I promise I'm not goofing like I think T Boog was, my tastes really are this weird. I have a ticket to see Herb Alpert's Tijuana Brass and Other Delights tour in Los Angeles this November, which will require me to drive about 7 hours each way between Oakland and LA) Herb Alpert and the Tijuana Brass: Four Sider My Bloody Valentine: Loveless Brasil '66: Herb Alpert Presents Bettie Serveert: Palomine The Ramones' first three albums Pink Floyd: Meddle (specifically "One of These Days....") Terry Riley: In C Lush: Gala Neu: 2 Air: Moon Safari The Beatles: Revolver Sugar: Copper Blue The Who: The Who By Numbers Brian Eno: Discreet Music Ulrich Schnauss: A Strangely Isolated Place Gang of Four: Entertainment! Com Truise: Persuasion System The Orb: Adventures Beyond the Ultraworld The Moody Blues: This is the Moody Blues (actually all of the "core seven" albums) The Velvet Underground: The Velvet Underground & Nico Joy Division: Unknown Pleasures The Beach Boys: Surf's Up (actually all of their output from Pet Sounds through Holland) Those are the first ones that come to mind. I'll often do a song and only notice who it was influenced by later.

IMO, that is still a valid system for running CbB and Sonar. One of the Cakewalk devs, Mark MacLeod, uses an i7-3770 system in his studio, as did I up until a couple of years ago. You will see a HUGE improvement in speed changing your system and programs drive to an SSD. If your motherboard's BIOS supports booting from them, installing a PCIe NVMe adaptor (they are cheap, under $10 at Amazon) with a 500GB NVMe is the best investment. When the time comes to build a new system, you can use the NVMe drive in that build, so it's in no way money thrown away. If your BIOS doesn't support booting from an NVMe, even switching to a SATA SSD will give you a massive speed increase in boot and program loading. I use Clonezilla for drive cloning. Regarding Windows 11 compatibility, you have choices. First, there are well-known ways to trick a non-compatible system into upgrading Windows 10 to Windows 11. Second, if you're concerned about security issues, you can keep Windows 10 and use a 3rd-party malware solution.

I think what it comes down to (for me) is what a work is vs. what it's being presented as. I thank T Boog for sharing just how wronged a fan can feel, even decades later, upon finding out that they had been misled about exactly whose work they were consuming. From the start of my music fandom, the genres I've been into weren't as much about the appreciation of a certain player's technical prowess as 80's metal. I didn't usually even know who played what. But now I get how if you're presenting your music as having been played by the people in your band, and their technical prowess is hyped as a way to sell records, and they become your heroes and influences, that it could feel like your trust was violated and exploited. Music is important to a lot of people, especially teenagers in their formative years who are looking for role models. Daft Punk's "Digital Love" is one of my favorite songs of all time. When it came out, an anime fan friend of mine told me about it, that they had worked with the guy who did Space Battleship Yamato/Star Blazers on the video, so I found it online and checked it out. I was almost 40, had just bought my house, and I still choke up when I remember how I was emotionally transported back in time 30 years to the time when I loved The Archies, Josie and the Pussycats, The Banana Splits, etc. Also Supertramp a few years after that. There's a video that breaks down where most of the samples they used came from, and when I first watched it, I admit I was initially a bit taken aback by just how much of the song was based on/assembled from other people's recordings. It inspired me to take a look at my own notions about such things and to ease up. Bottom line is that they didn't sell the record as being anything else. They were a pair of friendly robots consuming what they heard and reassembling it to make their own music. That was their product, and it was/is amazing. If a song could make a middle-aged man feel like he was 8 years old again, who CARES where the individual ideas came from? I still have ego problems about using mostly presets for all of the synths (and creative FX) I own. But I had a conversation with Lorene "Produce Aisle" about that when I was doing a remix of one of her songs and she put into perspective with a cooking analogy: do you have to grow all of your own spices in order to be an "authentic" chef? Heck, the top chefs in the most prominent restaurants don't even usually do any actual cooking. @Rain, I hear ya about being a guitarist and feeling like using something other than my own carefully crafted guitar tone is also "cheating." I used to have my own one-person boutique stompbox company, as well as having designed a tube amp on commission that was shown at NAMM. So using "in the box" amp sims makes me feel a bit icky. But y'know, whatever I use, in the end it will still be a tone choice I made (or in your case agreed to), and more importantly, my playing reacting in real time to what I'm hearing. And we gotta serve the songs more than we protect our own egos, right? That's what I hear, anyway.😄 Good analogy about Michelangelo. No matter whose hands crafted how much of it, if the true creative force was in charge, it's a Michelangelo, or Warhol, or Walt Disney, or Hayao Miyazaki. I still do find it kinda weird that The Beatles had someone else do the leads on a song that George Harrison wrote about playing guitar....😏

Here's where I'll confess that while I like Gilmour's playing up through around Wish You Were Here, in later days I thought he had too much of a tendency to go with blues cliche solos that went on too long. His work on "One of These Days...." is still amazing. Floyd were of course not strangers to featuring guests, they called in a guest vocalist, Roy Harper, for "Have a Cigar," and of course Clare Torry was so integral to "The Great Gig in the Sky" that she fought for, and won, a writing credit. While I'm talking about guest performances, one of my favorites is Jerry Scheff playing bass on "Riders on the Storm." The Doors' bass player was usually Ray Manzarek's Left Hand. Anyway, apologies, the video's topic isn't about credited guest performances, it's about what is "authentic." If there are people on YouTube faking performances and selling them as being done live in real time to show what awesome players they are, that's lame as hell. People who do it should be called out.

Fightin' words in some circles. Tread carefully.😄 As a drummer myself, I've tried to copy some of Ringo's playing and, um, it don't come easy, so to speak. "Love Me Do" on the other hand....that beat is easy peasy. I've listened to all 3 versions of "Love Me Do." Pete Best demonstrates that the reason he was booted was NOT because the girls liked him. Andy White sounds great, pushes the beat a bit for more excitement. With Ringo, it sounds most like The Beatles. As a bass player who is very sensitive to speeding up or slowing down, I have mad respect for how solid Ringo's time was. McCartney has said this. When you're playing bass with a drummer who is that metronomically solid, you can relax and groove, play with your own feel. This was in an era when drummers weren't playing to a click. Nowadays, some drummers play to a click live. Regarding Gilmour, I didn't know (or had forgotten) that they used another guitarist on some of the rhythm parts on The Wall. Not surprising given the producer. If a record didn't have Hunter and/or Wagner on it somewhere, it just wasn't a Bob Ezrin production.😄 Seriously, fans would have known what they were getting: you hire Ezrin, Steve and Dick will be on the record somewhere. Regarding Hunter/Wagner, I still get a chuckle out of the "Sweet Jane" intro on Lou Reed's Rock 'n' Roll Animal. For a LONG time, I thought they were two different songs, and that the intro was an Allman Brothers instrumental. My mind couldn't even connect the two, despite the fact that you never heard one without the other. TBF, there's no clue that "Intro" is live, then "Sweet Jane" is obviously live.

I think with some of this stuff, it's people trying to justify their salary. George Martin was one of the greats. Ringo Starr is one of the greats. Yet George Martin forced The Beatles to use a session drummer on their first hit single. Is the "Love Me Do" beat that hard to nail? I do like the song better when it includes Ringo's tambourine. I will give it to George that it might take him a little time to get up to speed. Did people care who played what on pop records in the early 60's?

So you were part of the fanbase that got duped. That really sucks. For sure, metal isn't supposed to be a genre where you use uncredited ringers. It's supposed to be the opposite of and refuge from "Milli Vanilli 5hit." An "is nothing sacred" reaction is understandable. There are so few people and enterprises we can even begin to see as having integrity.