Starship Krupa

This is relevant to my interests. The MStereo FX are very confusing to try to sort out. I had a piece of mono audio last week that I wanted to stereoize and decided to turn MeldaProduction loose on it. I didn't get any results that pleased me. I get better results with MSpectralPan I'll try MStereoSpread again. My go-to's for that work are Polyverse Wider 2 and JS Sidewidener.

I've heard this before about them and haven't grasped it. Do you mean offering new licenses for 1/4 the cost of upgrade? iZotope is another one for that move. I just look at it as "whatever" and see it as my cheap upgrade. At least they have the Jam Points from past purchases that you can apply for up to 30% off. I see them as Chaotic Neutral at worst. To me personally, Chaotic Good, due to all the freebies they've flowed me over the years.

Liked REM back in the day. "So. Central Rain" is my favorite song of theirs. Those lyrics. "These rivers of suggestion are driving me away."

THANK YOU! This has long been my line. Old farts go on about how the top 10 these days is such total crap compared to when they were young. Oh, you mean back when "Having My Baby" and "You Light Up My Life" went to #1? How many Led Zeppelin songs made it to even the top 40? "Whole Lotta Love" and how many others? Finding cool and interesting music has always taken effort. It's actually so much easier now to find exciting music than it was back in the day when the only way to have your music heard nationally was to please both corporation-owned record companies and corporate-owned radio stations. Yeah, we had "freeform" FM stations, but much of their programming was also playlisted. Sure, maybe you'd see a review in corporate-owned Rolling Stone or Spin or whatever and check it out, but that was it. All the rest of it had to come via word of mouth, record store clerks, indie labels we trusted, later, college radio, going out to shows and liking the opening act, sitting through half a dozen MTV videos to find something you liked, etc. People don't remember but it took WORK. But today we're in a world where, thanks to the internet, I can sit here at home, create a song, and put it up for sale. And I get to keep 90% of the money rather than the 10% artists used to get from record sales (if they were lucky). And as a consumer, I have access to so much written information and recommendations based on my tastes, either curated or by algorithms. College stations are still around, and I can listen to every college station in the world if I want to. Even YouTube recommendations are a good way. I clicked Watch on YouTube on the Lenny Breau video and got 2 documentaries and a TV performance. Keep clicking and the algo will point you at similar artists. And, friend recommendation, anyone who liked the Lenny Breau song should check out the all-but-forgotten Sandy Bull. So ahead of his time. When was the last time you asked a friend if they were listening to anything new and exciting? I throw it in other geezers' faces: if you think "today's music" sucks, it's not the music that sucks, it's the lack of effort you put in to seeking it out. Don't stay in your Spotify comfort cocoon. When people get older, we tend to seek comfort more than novelty. Finding new music that moves us takes us to new places, emotionally, culturally, and that's risky in a way. And if you hear a bunch of meh music along the way, well, we've always had to wade through stuff that didn't move us to find the stuff that did. In other words, don't stop rockin'.

Follow the path of many of us aging indie rockers and get into electronica! j/k, also n/k I am devoted to electronica, and it moves my heart and soul in the way that good instrumental music always has, from classical to jazz to surf rock to Eno-style ambient to industrial noise to 90's Aphex Twin-ish stuff to 2000's glitch and 2010's synthwave and so on. You can even be hella old and play live, just put on a helmet like deadmau5. Well, actually, in electronic music, the younger punters don't seem to care about the age of the artists as much as rockers seem to....

😲 So in effect, right now you can get a (non-upgradeable) perpetual license for Studio One Pro 6.6 for $134. And that license comes with a year's access to all of the Studio One+ content and services. And I had thought I did pretty well to upgrade my free-with-interface Studio One 4 Artist license to 6 Artist for $49. With Sonar not yet fully released, this is THE deal in DAW's at the moment.

Sure. I think you can get it for $199. Better to go with this sale, use some Jam Points, and get it for $50 like I did. If it's just the improved engine you're interested in, you can upgrade to the ST 4 engine for free by getting SampleTank 4 CS and using it with whatever 3.5 instruments and sounds you already have.

One of the reasons I call it (Miroslav) "of value" rather than "good." It would be much better if the documentation just gave descriptions of what abbreviations they're using for naming the various articulations. Also, SampleTank's categorizations in its patch browser can be sort of arbitrary. It at least allows you to favorite, which I wish all instruments could do. Patch naming and browsing ain't so hot in SampleTank in general. And with this package there is SO much stuff. Is that true for packages this deeply discounted? I don't know. I figured it was a strategy to wring the last bucks out of a package and get a bunch of users who might be interested in the next version. But it may be more the former than the latter, 'cause now that I think of it, since they give the engine away and only charge you for the libraries, selling the next "version" makes less sense.

I guess my request for more info got lost, but I picked up on that. For me, it's usually the headphones that are more revealing, but I guess you have some very revealing monitors. Of course check the silly stuff like tone controls on the monitors if they're active. Don't ask how I know this, but it's possible to accidentally adjust them when moving the monitors around or giving them an experimental tweak and then getting distracted and forgetting to put it back. Mixing-wise, when I get certain frequencies poking out (with vox it's usually in the nasal regions), I use the sweep method to home in on them and then cut that frequency.

So....every other month it drops down to $69? SampleTank 5 must be on its way soon. It's a great package, I snagged it for $49 using Jam Points, direct from IK. Yes, it includes a lot of duplicate stuff you don't need, but that's because it covers so much ground. You don't have to install everything. SampleTron 2 and Syntronik 2 alone are worth the ticket price. Miroslav Philharmonik 2 is also of value to anyone who wants to get started with orchestral stuff. A buddy of mine snagged it just to get Neil Peart Drums. Miroslav was the primary target for me, but the hidden gem was SampleTron. If you've ever wanted to play around with the oddball libraries that most 'tron clones omit, they're here, lo-fi sfx and all. Also, to my delight, a vast Optigan library, including some great lo-fi loops.

Seriously, the place is legendary in these parts. And Alameda itself is worth a little detour. People pass it by because it's not next to a freeway, we're a small town on our own island. I will have moved by the time you make it back, but for future reference: https://www.oleswaffleshop.com/

Well, there are a LOT of people who just can't nail perfect takes the way that you do. I, too, think it should be a global choice, though. I have to confess that I'm too lazy about creating/modifying project templates. They save so much time and aggravation, and it's easy to have your most-used up at the top of the list. Track templates, too, such a handy idea and bypasses so many steps.

Simple solution: turn down the output volume on the Roland. If the Roland doesn't have one, turn down the input control on your interface.

I'm not 100% sure, but I think you can disable Enhanced Display Scaling in S1's options. I think in S1 it's a global option whereas Cakewalk allows you to do it on a per-plug-in basis. Hazarding a guess, I'd say it looks like Positive Grid are a "Mac shop" and in those, there may be a failure to do extensive testing with Windows, because few people at the company like testing on Windows.

Garage Band is the most likely solution, but since you're collaborating, and you already have a BandLab account, you might try having her use the browser-based version of BandLab DAW. Easy to share the resulting projects, you can pull the stems down from within Cakewalk (or using BandLab on your end), so she doesn't have to mess around with exporting them from Garage Band.

Not mutually exclusive, but I get it. I dunno, I own more woodworking tools than I've ever made woodworking projects, but when I want to make something out of wood, everything I need is available to me. That's the way I see my humongous collection of audio plug-ins. There is no possible task I could take on that I don't have the tools to accomplish. I'm not held back in any way other than my own skills in using them.

Sort of the opposite.😂 If you're looking to build a library of top-quality processors and virtual instruments for the least amount of money, I know of no better place than this forum. There are also dedicated topics in the Instruments and Effects forum for freeware instruments and fx. And IMO, the stuff you can get for free will provide you with months of new tools to explore and use. Just two bundles from there, Kilohearts Essentials and MeldaProduction FreeFX, will give you over 70 professional quality plug-in effects and utilities. But I also like shiny things, and I like to have "industry standard" tools, and if you're looking for specific plug-ins, this is the place.

That sounds like a sailor who entertains their submarine crewmates by tap dancing.

Not only that, but they just sent me a free serial for Ozone Elements. Already have Ozone Standard so I gave it to a friend. And if you create an account at their site, they have a nice collection of free video courses on various mixing topics. And they're long courses, like 10 hours of video and such.

Well if I had known, you would have gotten free breakfast at Ole's Waffle Shop in Alameda.

Looks like you got it sorted, but the first one that comes to my mind is Boz Digital's Mongoose. With a bit of finesse, MeldaProduction's MSpectralPan can do it in mid-side mode. And it's free.

Download and install Professional to get the bundled plug-ins, but for heaven's sake, download and install Cakewalk by BandLab immediately afterward. That will give you all the features of SONAR Professional, but with 6 years of bug fixes and added features. At no extra cost.

Kontakt Player friendly!

It may be an "installer helper." Even Softube now installs a service for this purpose. I mean, c'mon, a service? And then leave it running? I've stopped NTKDaemon and switched its start up to Manual. No ill effects, NI just starts it up when it needs it. At least it looks as if they no longer install those multiple services that go with their controllers. Every update, I used to have to go into Services and disable those damn things.

For me, it depends. For my electronica stuff, I get a lot of my initial inspiration from timbres. I hear a sound and a way to use it pops into my head and I'm off and running. Arps and pads. I was a ho' for A|A|S' soundpacks before I broke down and snagged Chromaphone and Analog VA in deep discount sales. Their soundpacks sound amazing even just using them in the Player. For other favorite synths, I've paid for banks for Hybrid 3 and XPand! 2, mostly $5 qualifiers for PB BOGO's. I think $10 for a Soundpaint library. All thoroughly worth it. For others, like MASSIVE, there are so many free presets out there that I have too many of them, especially given MASSIVE's clunky preset browser. In the great scheme of things, if a sound bank inspires me to create a song, hey, worth it. I do ask myself if I've truly familiarized myself with all the banks I currently have, and the answer is usually no. Still, A|A|S discounts a soundpack I don't have for $9, it's an automatic buy.