bitflipper

Cakewalk also has a MIDI plugin called MIDI Event Filter that, iirc, can filter out just about any MIDI events, including those from the pitchwheel.

It would appear to be a problem with your controller. Try this: physically disconnect the keyboard, open a new project, add a soft synth and manually draw in a note in the PRV. This should play back in tune. Make sure you're using an external reference to gauge the tuning, e.g. a tuner app on your phone. Because of their mechanical nature, pitch wheels are the most common point of failure on keyboard controllers. See how hard it will be to remove the wheel. If it's convenient to get to, have a peek inside. They vary a lot in construction. Yours may be a simple potentiometer that can be cleaned with a spray solvent made for that purpose. Or it may be a mechanical issue where the wheel isn't returning to zero because it's binding or sticking. There will usually be some kind of adjustment in there to let you zero the controller. Or just buy a new controller.

First thing I do when inserting a new track is to rename it. My memory just isn't reliable enough not to. Given your handle, I'm guessing the question may be in the context of mastering. There, I can see the value of using numbered track names and why it would be inconvenient if you re-order the tracks on an album. But I can't imagine a better default naming convention. Adding the number assures that each default name is unique, which is more important than any implied meaning of that number.

If you didn't see the band and know they were Japanese, you could easily be convinced that Stay Gold was a Green Day track that didn't make it onto American Idiot. That's meant as a compliment, since imo American Idiot is one of the finest pop rock albums ever made. I think it was in Ikutaro Kakehashi's autobiography where I read an observation that the Japanese have always been particularly adept at absorbing foreign art and music and making it their own. Much like the British consumed American blues in the 60's and then sent it back to the US as something simultaneously new and familiar. I am reminded of a song that was released in the US as "Sukiyaki" in the early 60's. An idiotic title that had been chosen because it was one of the few Japanese words Americans would recognize. It was very much in an American style, although it was a style that had already become unfashionable in America by that time. It was a HUGE hit around the world, even though few outside Japan had the slightest idea what the words meant. (My understanding is that most Japanese didn't, either; it was actually political, according to WIkipedia.) Enjoy this bit of musical history:

That's a helluva deal. Insight alone goes for $200. Not that I'd actually pay 200 bucks for it, but since they're not offering a loyalty discount for version 2, I'm considering this deal just for the Insight upgrade. Don't need any of the other stuff.

That's good stuff, QM. Reminiscent of Green Day. Got any more like that?

I've long enjoyed the Japanese take on jazz, classical, prog and metal music, and wondered why it wasn't more widely appreciated outside of Japan. Here's some quality commercial pop rock from that country. This band's been around for awhile and has made a bunch of records, but I only discovered them thanks to YouTube's mysterious suggestion algorithm .

btw, if you're curious what Chet Atkins' version of Walk Don't Run sounded like:

When I moved to Seattle in 1972, I was pleasantly surprised to find a lively and long-established local music scene. There were literally hundreds of live music venues to play at and dozens of recording studios. Today you'd have to go to Austin or Nashville to find an environment like that. But in the 60's every city had its own circuit and its own superstars. A few of those local favorites managed to bust out of the Pacific Northwest and go national and international, which is how I knew who some of them were before coming to town. One of the biggest was The Ventures, although by '72 they had already relocated to Los Angeles and their style became mostly associated with Southern California and inspired many copycats there. Playing in my first bands in Nebraska, we assumed The Ventures and the Beach Boys were neighbors who grew up surfing. Neither of them actually did. The main thing I took away from this documentary was the realization that The Ventures, for all their innovation, was really a cover band. I'd been unaware, for example, that Walk Don't Run was originally lifted from a Chet Atkins record. Another interesting snippet was the criteria for being inducted into the Rock and Roll Hall of Fame: At least 25 years since first release Possess a significant body of work Significant influence on the development of rock 'n roll I couldn't help wondering how some of the more recent inductees qualified under those criteria, e.g. Eminem, Run-DMC, Madonna, Tupac. Meanwhile true rock innovators like The Ventures had to wait almost 50 years for their nomination. I think 250 albums qualifies as a "significant body of work".

I have it on good authority that the author of that review remains a fan of MSpectralDynamics and still uses it regularly.

Tbh, he wouldn't be on my top 10 list of songwriters, either. A songwriter is one who's proficient at every aspect of song creation, from rhythm to melody to arranging and instrumentation. Paul Simon is a songwriter, perhaps the best ever. Billy Joel, Paul McCartney, Smokey Robinson, Randy Newman, Brian Wilson, Freddy Mercury and Dolly Parton are songwriters. Now, if we're talking top 10 lyricists then Roger would definitely make the list, along with Bernie Taupin, Leonard Cohen, Bob Dylan, Joni Mitchell and Jim Morrison. I'd even tack on the somewhat controversial Neil Peart in the honorable mentions.

Basically the same effect. TrackSpacer is easier to use, MSpectralDynamics is more tweakable and versatile.

Just about any lyric Roger Waters ever penned. One of my favorites is... The paper holds their folded faces to the floor, and every day the paper boy brings more - Brain Damage, Dark Side of the Moon

Lawajava's in Kenmore or Bothell. dubdisciple is in Auburn, or thereabouts. DeeringAmps is in the South end, Tukwila maybe? I'm in Everett. None of those are within the Seattle city limits, though. Now, there is a longtime user named jkoseattle, but I could be reading too much into that handle.

A handy cheat if you're in a hurry, lazy, or just not very practiced at mixing. I'd file it under "nice to have" rather than "must have".

Hey, I don't want to brag or anything, but did read the entire manual. Once, anyway. That was in 2005. If there's anything you want to know about SONAR 5, I'm your guy.

In addition to the plugin name, how about adding the expected path? That would tell us if it's VST2 or VST3, and make it quicker to get there and see if the DLL is really missing. If the DAW reports it as missing but the file system verifies it is not missing, then that's a whole different troubleshooting flowchart than if it's really not there. I don't recall if this has been implemented, but awhile back I suggested adding a button to open the most recent debug log file in Notepad. This dialog is a great opportunity to add little features and more information that will help the user solve his own problems, or to give experienced users something to go on when attempting to help a beginner.

I thought you were going to announce that Joe Pesci would be playing Hendrix in an upcoming biopic. That would be an interesting casting choice, because obviously Pesci is too short for the role.

I don't know if the Moog supports this, but the usual way to initialize a synth is through what's called a sysex dump. It's been awhile, but back in the 80's I had a multi-timbral Yamaha module that I used sysex with. Once I had the module configured just the way I wanted, I did a state grab, in which Cakewalk sends out a sysex dump request to the synth and receives a bunch of data back (that doesn't mean anything to Cakewalk). That data then gets stored as a sysex bank with your project. You can then have Cakewalk send that dump out to the synth on startup, which should put it back into the same state it was in when you got the dump earlier. This might help explain it better.

Well. I am embarrassed to be on the wrong side of Andrew Scheps. Can't argue with an Album of the Year Grammy, which presumably used digital saturation. But I'd counter with the observation that just because Andrew Scheps can make something sound good doesn't mean that you or I will produce comparable results. I'd challenge anyone who routinely uses saturation to try taking it off a completed mix and do a blind A/B between the clean and distorted versions. See which one you like better, or if you can even discern a difference.

Don't use the link at the top of your browser. Instead, right-click on the video and select "copy video URL" or "copy video URL at current time" if you want the video to start playing at a specific point. Paste that into your post and the software will do the rest.

I treat saturation for what it is: nonlinear compression with distortion. IOW, it emulates the effect of tape saturation. On the master, it mushes everything together and smooths the rough edges, the way magnetic tape does when pushed beyond its linear region. The technique was discovered back in the day when engineers were actually trying to get the best possible SNR, with "N" being tape hiss. Toward that end, for a high-fidelity recording they'd push the signal level up just short of where the tape began to saturate. Rock 'n roll mixers discovered that if you didn't stop there and pushed it just a little bit harder, the tape saturation began to do some of their work for them by flattening peaks of the higher frequencies. I don't use saturation often, because I don't miss tape and I embrace the clarity and honesty of digital audio. On the rare occasions when I do use it, it'll be FabFilter Saturn.

I am a fan of Paul Third. Here's a recent one that really oughta be pinned at the top of the Deals subforum. Over the years, the more experienced I get the fewer plugins I use. I think most folks end up following a similar trajectory. Apologies to the OP for drifting off-topic. To the topic, I'll add just three observations: saturation is used too often, is applied too heavy-handedly and rarely makes anything actually sound better many plugins that purport to be saturators actually do little to nothing, or aren't even saturators if you're intent on using a saturation plugin, use a freebie like GSatPlus so at least you're not out any money

It looks like your track header window (the part that contains the fx bin, routing and volume/pan/gain sliders is too narrow. Try widening it by dragging its rightmost boundary to the right. This will allow the controls to stack when displayed, so that the track can be more compact vertically.