Starship Krupa

I tried to use the "@" to tag you but it didn't work.

I wonder if it's had a financial impact on the music software industry.

Are you waiting for the behavior to change back to the way you preferred it? The longer you wait, the more changed and new features you'll need to learn if you want to stay proficient. Also, if you stick around and keep an eye on the forum, you can raise a voice of dissent to changes you don't like. These changes happen because a lot of people chime in with things like "I accidentally held Control when I meant to hold Shift when I moved the fader and now my entire mix is off." Despite pleas from myself and others, fader moves are still not Undo-able changes. So I like it the way it behaves now. Put in a feature request to make the old behavior available via editing an .INI file or whatever.

Late reply, I understand, but maybe you recorded with loop turned on? Open the take lanes on the track and see if maybe there are extra clips

One of my favorites, it's definitely in the "with a twist" category, is ATMOS2. Scroll down. It's free, too. Ambient drone for days.

The gameplay in Manifold Garden is not MYST-like. It's kind of the ultimate platform game, but instead of jumping, you switch the direction of gravity and fall. While you're falling, you can use the nav keys to direct yourself to another platform, etc.

It's one of those "now that I've heard it things," right? I've spent a lot of time listening to the first time B.B. launches into it before the vocals join the chorus. My guess is Ampeg B15, and it's a combination of playing through a 12W tube head into a single 15" speaker. Some of the growl may be speaker fart and/or power stage distortion. A hard knee compressor set to a slow enough attack to let the string pluck through. The compressor could also be causing some of that growl, I'm still analyzing it. While amp and cab sims abound, I have yet to see anyone claim to be able to model speaker cone breakup. Just because I haven't seen it doesn't mean it isn't happening, I just haven't noticed it. I don't know if that's something an IR impulse could capture?

Amazing visuals, great gameplay: https://store.steampowered.com/app/473950/Manifold_Garden/ 36 hours left in the sale....

I like Cakewalk's mixer better than Mixbus'. There are some features about Mixcraft's track view and comping I like, but Cakewalk has an edge due to better handling of clip grouping.

This. We can get any compressor or EQ to do mid-side by using two instances, MSED, etc., but I prefer having it there in the plug-in. Soundspot's Cyclone compressor is still a favorite bus compressor of mine due to its having the dual linked/unlinked sets of controls. Even though I have more chic options like elysia mastering compressor, I can dial in that thing faster than anything else.

Yeah, I passed on both of those deals; I hadn't fiddled with the standard versions enough to know whether I'd like them. Turns out I do, enough to drop $15 just to get the mid-side. Shadow Hills Mastering Compressor has the World's Sexiest Skeuomorphic GUI (TRIAD has the World's Sexiest non-skeuomorphic one). It's not like there won't be more (and possibly better) deals on them in the future; I'm keeping an eye open on them.

I'm a Mixcraft fan from way back, like v5. It was my main DAW before CbB, but when I got a look at Cakewalk's Console vs. the one in Mixcraft, I was gone. When I mixed in Mixcraft, I did it using the Track/Timeline view because the mixer was so lame. It has some very convenient features that I miss in Cakewalk, but it also lacks many that now seem essential to me, like collapsible lanes. If you have multiple takes on a track and want to reclaim the screen real estate, the only way to do it is to put the track in a folder and then close the folder. I can get things done faster with Mixcraft's workflow, but Cakewalk's features are so much greater. The way that folders=submixes in Mixcraft is brilliant. Drag all your guitar tracks to a folder, boom, instant submix.

I'm not sure what happened this time around; I don't seem to have an August voucher floating around my Inbox. Is the minimum buy for a $25 voucher still $75? If so, I probably deleted it. It's gotten to the point with PA that I'm so confused about their promotions that I've just been waiting for them to settle down. There are a couple I'd still like to get from them (Shadow Hills Mastering Class A, Black Box HG-2MS). If anyone's looking for gems during the current sale, Unfiltered Audio BYOME and TRIAD are on deep discount.

It does seem like the OP is going to a lot of trouble. Irony aside, if the top-level goal is to teach oneself how to sing in tune, it's not necessary to reinvent the wheel. I'm not down on him for trying to find something that works, but as someone who taught myself how to sing in tune, I'll offer another suggestion. As others have alluded to, it's the feedback circuit between your ears and brain and vocal cords that you need to calibrate. Having a visual graph may be helpful for seeing whether you've hit the note, but it can only tell you after you've sung it. Then what do you do? Tell yourself to sing it a few cents higher or lower next time around? If you had that much precision, you wouldn't need to be training your voice. It's like watching a video of yourself losing a tennis match. You can see what mistakes you made, but the only way to learn how not to make those mistakes is to get out on the court and practice. For learning how to sing in tune, it's better to sing along with a guide track, then play it back aside the guide track and listen to hear whether you're in tune. Wherever you hear yourself go out of tune, find that note and hold down its key on your MIDI controller. Sing a note along with it, raising and lowering your pitch until you hit it. You can do this even with just a simple scale. The voice is like other instruments. The way to get good at it is practice. It doesn't have to be drudgery, try what I suggested for 10 minutes (or more) a few days in a row and you'll be amazed at how quickly you'll be able to sing in tune. It trains you to make instant corrections using feedback via the ear-brain-voice circuit.

I was wondering if it was that. I haven't heard the term in decades. I'm always interested to meet someone else who's been online for a long time.

Welcome to the forum and to two of my favorite hobbies: using a computer to make music and discussing it on this forum. Curious though, "thanks for the ad?" IMO, this falls into the category of "for now" advice. The OP should take notice of the "as a rule" caveat. Also "ultimately." I'd also precede it with "technically, no, but...." The reason to use the rule/convention that Steve mentions is that it anticipates that we'll eventually mix the tracks we're recording. As you learn more, you'll discover how much smoother things go the better you are set up for the next stages of the process.. There are exceptions to the rule that you may eventually discover. For instance, when I set up a headphone cue mix using sends, those usually bypass the Master bus.

I always go direct with bass. The tone I'm trying to nail right now is B.B. Dickason's on War's "The World is a Ghetto" (and "Cisco Kid" from the same album). The attack, the low end growl when he launches into the chorus. I suspect that it's a cranked Ampeg B15, but I'm not sure. It's difficult to find a plug-in that will do the low end growl very well. the best results I've gotten so far are with elysia mpressor first to get the attack, then Bass Professor Mk II for some multiband compression, then Black Box HG for the growl.

I know, right? I get ? when people show up here wanting to use Cakewalk to augment their musical capabilities. A DAW should be nothing but a way to record audio. Pitch correction? Learn how to sing for heaven's sake. Sonny and Cher didn't need Autotune to sell millions of records. Overdubs? How about learning some social skills and getting your musical chops together so that whenever you have a musical idea, musicians who want to play with you will be at your place within minutes? Did Prince have 2 resort 2 such things? Automatic double tracking? How about learning how to sing well enough that you can record two actual vocal takes? Would John Lennon take shortcuts like that? Compression? Learn how to control your dynamics when you play and sing. Did the great Motown hits use compression? EQ? Learn how to set up your instrument and mics, learn how to treat your room. If it needs EQ, you're doing something wrong when you're recording it. Comping? Learn how to play your instrument or sing so that you can actually get through a 5 minute song without screwing up. Do you think Fleetwood Mac or Boston or the Beach Boys resorted to cutting the best bits out of multiple takes and stitching them into a single "performance?" Fleetwood Mac had better things to do with their razor blades than cut and splice recording tape. Staff editing? Capture an egret, pull out a quill, and whittle it down with your pen knife. How much hand-holding do you need? Piano roll? Scott Joplin didn't need to edit his piano rolls, he just got good enough at playing so that he could play them right into the punching machine without screwing up. Don't get me started on "quantizing." Virtual instruments? How about getting some good-sounding real instruments? Mixing? Learn how to play it at the right volume so that it fits with the rest of the instruments in the first place. Recording itself. If you want people to hear your music, why not pick up an instrument and play it for them?

The Piano Roll View has its own Snap Settings controls: When they are active, they override the settings in the global module. To activate them, click this button:

You can no longer get a serial number from Sennheiser that will allow it work in Kontakt Player. I don't know if that's true with full Kontakt. If you managed to snag a serial number back when it worked with the Kontakt Player you're good, but otherwise, probably not. If you're looking for an acoustic drum kit for free, there are plenty of other options. The free bundle from NI includes a plethora of free drum kits, including vintage drum machines. Same with Sampletank.

<Nigel Tufnel>These have the buttons lit when the feature is active.</Nigel Tufnel> I understand that convention, and the business of "normal" being the state that fades to the background, and "not normal" being the eye-catching one. It just suits my own ADHD brain to have it glaring at me. I can glance up and see that all the stuff that I want to be "on" is lit up. That's the beauty of being able to make custom themes. We can have our Cakewalk and eat it too. I don't think there's any danger of los panaderos adopting the Colin/Krupa Conventions. But we can have it our way if we want. And if someone wants to use my themes with the stock conventions, it's an easy dance with Theme Editor to switch those button images. Ya gotta admit that the "Pre/Post" and "1X/2X" things are cool. I encourage anyone to take whatever button images they want from my themes. So you can have your own Tungsten or Mercury with just those button changes. It's easy enough to do.

I did switch to CC mode. I putzed around with the ACT Control Surface and yes, it did help. I don't have great luck with Learn so far, rather typing in the controller number works best. Since I have the attention of @msmcleod, the dev team's control surface top doggie, is the dev team aware that the Cakewalk Arpeggiator doesn't respond to Control Surface messages? The buttons' appearance changes, but the actual functions don't work. @User 905133 has an extensive post on this, and I can confirm the behavior. Being able to control the arp is pretty important for live performance and improvisation.

Your memory serves you well. @Colin Nicholls was the first themer I saw actually improve upon the iconography by doing things like this. Matthew White deserves mention for making his FX rack bypass buttons less ambiguous. I think a couple of my themes might still be using FX bin bypass buttons I swiped from Matthew. If you check out any of my themes, they all have less ambiguous buttons wherever applicable. Colin got there ahead of me on most of these things. My upsampling button toggles between "1X" and "2X." The "Pre" buttons for sends in my Console View toggle between "Pre" and "Post," and so on throughout the program wherever I could find something. It started with using the "MIDI jack stuck to a keyboard" icon for Instrument tracks, which are....a MIDI track bound to a synth track. The stock themes use the plain "keyboard" icon for that, which is just plain backward. Also weird, and potentially more troublesome IMO, is a Mix module where brightly colored buttons for Mute, Solo, Input Echo, Dim Solo, Automation Offset and Plug-in Upsampling mean "this thing is active," and buttons for Plug-in Delay Compensation and Global FX Disable/Enable mean "this thing is turned off." Colin and I took on a project to add our iconography to Mercury and Tungsten, for people who want to stick with the stock colors but still enjoy the benefits of not having to stop and remember whether the PDC button being lit up means that PDC is enabled or disabled, whether FX being lit up means that all FX are bypassed, etc. You can find the download link to Tungsten RS in my sig. Mercury RS is in Colin's. They address all this stuff, and touch up the buttons in various places to be more descriptive and/or visible. Mercury, with everything in default mode: Mercury RS, same state: Mercury RS with all FX bypassed, PDC disabled, automation read disabled, and plug-in upsampling enabled: Straightforward, eh? If it's lit up, that means it's working/enabled, if it has a slash through it, that means it's turned off/disabled. The Mute button might be considered an exception (by someone even more pedantic than I), but "bright 'M' = muted" was an industry standard before there was such a thing as a DAW. Naturally, both Colin and I think that our other themes improve upon the stockers' aesthetics as well as legibility, but if all you want is the revised buttons, check out Mercury RS and Tungsten RS. They have all you're looking for. I also have a version called Tungsten RST that debuts my new Studio One/Ableton inspired transport buttons: If that ain't enough to make you flip your lid, I also include a custom color preset that does things like make the grid lines in Track View more visible. As a general suggestion, for anyone at all dissatisfied with Cakewalk's look (if you prefer flat over gradients, definitely check out my themes), go to the UI Themes subforum and look around, ask if you like. Multiple people have put many many hours into making Cakewalk easier on the eyes. Mine are done by and for someone with vision issues. I try to make my buttons as big as possible and I like contrast. Even if you just want to amuse yourself by customizing Cakewalk a little, there are some great-looking themes available.

Beyond help? Perhaps. Anyway, I gave it another swipe today. I made....progress. This time I tried it with no control surface selected in Preferences. I was able to map the knobs and faders to various pan and gain knobs in channel strips. Not as lucky with the buttons; I can map them to trigger Matrix cells, but they seem to only be able to do momentary. I tried mapping one to a mute control and it muted as long as I held the button down, but then unmuted as soon as I released it. I also got the Assignable Parameters to respond....but they didn't actually change anything on the plug-in itself. The readouts change as if it's responding, but the plug-in doesn't want to know. Since I had thought that Cakewalk needed to be told that a given MIDI device is a control surface, this all came as a surprise. I still don't get the business about Cakewalk Generic Surface or ACT or whatever. The advantages/disadvantages of each, what they even do, given that Cakewalk will (sort of) respond to my controller without any surface set up in Preferences.