Starship Krupa

It can be confusing at first, but each of Cakewalk's Views has its own menu pertaining specifically to that View. This is because the different Views (except for Track View) may be floated outside the main window and because the main menu would be hopelessly cluttered if everything were in it. The main menu tends to have commands that apply to the project or program as a whole.

It's in Cakewalk's Preferences. Preferences/Audio/Playback and Recording. There's a pull-down selection box for Driver Mode. Choose WASAPI Exclusive and 99% of your audio problems should magically vanish. Of course if you want to record audio from a mic or instrument, you should get an external interface.

Unless you are a Cubase or Nuendo user, there is no impact. Existing plug-ins, hosts, and developers of them will continue to be compatible with the VST2 spec. As for anything that came with SONAR Platinum, if it works, it won't require further support. There's no company called "Cakewalk" any more. There's BandLab, which bought Cakewalk, Inc.'s products. That's all they bought. They didn't buy the company. The only connnection is that BandLab produces a DAW that's based on Cakewalk, Inc. code they bought from Gibson. They call it Cakewalk by BandLab. That's just a name. They're under no obligation to support Cakewalk, Inc.'s customers. They do, as a courtesy, keep the old Cakewalk, Inc. licensing servers running. I hope this clarifies things.

They were initially 32-bit, but the developers at Cakewalk worked overtime to make sure it was taken care of, and now they are 64-bit.

Oh, it's GOING on the lead vocals for your cover of "Strawberry Fields," isn't it? ? Perfect tool for nailing that sound. It has a good doubler preset. I'm diggin' it pretty good on dialog samples. Mine come from watching movies and TV shows on my computer and capturing with Audacity, so they start out way too clean. I highpass way up (of course), then bitcrush, then add some widening and delay for trippiness' sake. I think of dialog samples as slightly sour ear candy. They should be grainy enough to stand out from an otherwise glossy electronic mix, but have the effect of a surprise treat. This plug-in has pretty much everything I use to do that, with a few more tricks beside. This is one of those things where I'm sure I could nail every sound in it by using 3 or 4 other plug-ins I already have. There's a comprehensive quiver of most-used sample processing tools in one container. If I wake up tomorrow and still think it's a good idea, I'm getting it.

My name is Erik and I'm a plug-in addict. I went to download and install the RC-20 trial and found out that I already have an account at XLN Audio. My account on the site doesn't indicate that I own any licenses, but two of my computers are shown as activated. I have no memory whatsoever of getting any XLN licenses.

Have you tried Cymatics Origin? XelOhh really likes it as an RC-20-alike. I like Origin (it's just the thing for those ambient dialog samples), so I'm wondering if I might like RC-20 better.

I've had it since version 1, it is awesum for squashing the drum bus.

This is one of my favorite t-shirts. Country EDM would fit right in.

Dmitry From The Hills of Kentucky? DeadHor5? CowTipper? The mind boggles.

Although I will not be purchasing this bundle, just learning that Country EDM is an actual genre was worth following the link.

It could be, if you like "one knob" plug-ins. Compare it to the Cakewalk Style Dial MAX, I guess I already have plug-ins that do transparent, coloration, and de-essing, so I'll pass. I don't know if it's my geek nature or some kind of macho pride, but single-knob processors make me feel weird, like I don't trust their sonic embettering since it's so under the hood.

Once you have it, be sure to go to their sounds store and grab the following freebie preset packs: Ambient Soundscapes Ariel Proksa's Signature Bass Music Powerpack Dark Ambient Hansen's House House Chords Iconic Vibration Luminescent Lyli’s Signature Marc Houle's Signature Past To The Future Percussive Drive Starcadian’s Signature There's a bundle with Glitchmachines' Convex (their multieffect unit) and a new multiband delay from W.A. Production called Multibender, as well as noted resource hog SoundSpot Union. Glitchmachines' Palindrome, which is that trippy thing with the rectangular tunnel grid, is $10. There 5 SoundSpot "5 for 5" bundles for those who don't yet have every single SoundSpot effect under the sun from previous free-with-purchase offers. Cyclone, Glitch, Voxbox, and Overtone are in some of them and are all good.

I know about the base octave setting. But if I set that there are other MIDI-triggered plug-ins I have that don't line up, so I just leave it as-is and go with the transposer plug-in. It also has the advantage of being on a per-track basis, in case I have some other plug-in that uses some other convention.

Sigh. Yeah, I really wanted to like Stutter Edit 2, I thought it would be the way to level up on glitch and stutter effects. Had a hard time doing anything but browsing presets, so I took advantage of a trial membership at Producertech to take their course. Even after finishing the course, I still don't use it with anything but the presets, and infrequently at that. If one were to master it, it would be really powerful, but I pretty much just use stutters and glitches as a bit of seasoning in my ambient tracks, Chris Zippel style. A deep dive doesn't seem worth it at the moment. I agree about the UI and preset browser. Even just following along in the course, I kept getting into situations where none of the controls would move. I think it was behaving as designed, but it's poor design to let your users get stuck in potholes. One issue I found with Cakewalk is that the note names are 2 octaves off from what Cakewalk uses. No biggie if you put a MIDI transposer plug-in on the track, but something to be aware of if you can't get it to do anything. Still, it's worth $10, even if you only use it with the factory presets. There's no shame in presets. ?

Oh, I see, you thought that once it was imported, the name field would read "Blue Midnight" (or whatever). I agree that it should. Unfortunately, Cakewalk doesn't seem to pass the string. For confirmation that the import worked you can see the changes to the colors immediately if you have a project open to Track View. My custom color sets make the grid lines much more visible, especially the measure lines. I have a harder time seeing the grid lines if I don't have one of my custom color sets loaded. As a native English speaker I appreciate the work you've put in to learn it. Written English is difficult, too much old code. ?

Cakewalk got the Ripple Edit indicator in one of the first BandLab updates, so I've never known Cakewalk without it. I can only imagine the forehead contusions from continuous slapping.

Can you elaborate on this? I think there may be a language barrier. Click on Import Colors, then from that dialog, browse to whatever folder you downloaded the .CLR, then select the one you want and click Open. That should result in the color preset taking effect. Once it's imported, type the name of the preset into the selection box and save it. These steps work just fine on my system.

Are you using the latest ASIO driver from Soundcraft? What John said about leaving the Realtek alone and using only the Soundcraft is very good advice. Recording through one device and playing back through another on the same system is just a recipe for needless trouble. If you have everything pared down to just Soundcraft ASIO and you are still having latency issues, Latency Mon is a great utility for figuring out what processes or drivers are causing high latency on your system. That said, latency is only really an issue when playing softsynths in real time and when tracking audio. Your Soundcraft should be able to let you monitor realtime through itself without having to go through the DAW.

One thing to know, especially when recording multiple takes of drums, which usually have, at minimum, 4 mics is that during playback, Cakewalk streams every audio file in the project whether the track or lane or clip is muted. So let's say you're using 6 mics on your kit, and you record 5 takes before you start comping. At that point, you'll have 30 audio files streaming from the disk every time you hit Play (or begin overdubbing). The way I found out about this is that I once had a friend do 20 takes of drums on my kit with 4 mics on it. That project got kinda sluggish, so I set about trying to figure out why. I used Resource Monitor to see what Cakewalk was doing. What can you do to alleviate it without deleting the tracks or takes? Archiving tracks stops the audio in them from being streamed. What I do to set takes aside until I'm ready for them, or just for deep storage in case I want to use them for further comping is that I drag the takes to new tracks and then put them all in a folder and Archive them. Mr. Cook and I have advocated for a means to archive Take Lanes in addition to entire tracks, but it doesn't seem to be on the horizon yet.

Licensing section has now been updated to include references to the web installer. Something I'd like to add is a Cakewalk by BandLab logo, but the BandLab website doesn't have any logos that are specifically designated as licensed for creating other works. Wikipedia are very strict about image licensing, so I had to leave that out for now. You can't just grab a screenshot and put it up there. If anyone has any information or suggestions, let me know.

Good heavens, the article is only a day old and already the information is out of date. ? In the how-to articles about publishing new content, they say that once you publish a new article, you will be making many changes and additions to it before it settles down.

Ah, thanks Steve. I couldn't remember where to find the web installer. I only put that section on licensing in there because it's been a topic for so much discussion. I had to make a case with TPTB at Wikipedia not to get the article speed deleted when I published it. Now that it's there I (and others, of course, anyone can edit Wikipedia articles) can touch it up at leisure. The hard part is done.

I agree that I get a twinge every time I see it, but if I'm honest that's because I've taken advantage of Beat magazine's freebies without buying the issues. Not from hints in the forum, but via hacking the clues via context. In this case, I did buy the issue because while I was horking the freebies, I noticed that the issue was devoted to a favorite topic of mine, actually finishing things. It was worth dropping some coin to get some hints about that. The topic title should more accurately read "No software piracy please." I give the @Wookiee a break, he's got a tough, mostly thankless task in moderating the forum. He saw a bud forming and nipped it. Also letting any involved companies who might get alerted to the goings-on that BandLab have taken steps to discourage it. Cakewalk is already virtually invisible to these magazines, so they don't need to make it worse (not that it could be any worse in that regard). We were kinda being bad boys, IMO. Beat and CM and the software companies that offer up these premiums have been important to my development as a mix engineer. Magazines have a hard row to hoe these days, and Beat just took the step of expanding into the English language market. It's hard to hang on to my ethics when A|A|S soundpacks are dangled, though. ?

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