John Bradley

Sure, do it all the time. After flattening the comp down to a single lane, close the take lanes pane and make sure you're in 'Clips' mode on the track. Then just zoom in to the offending breath, select it, and hit DEL. You can also split the clips, change the start/end points, and add fades as desired.

Precisely. I often do a dual-amp setup panned hard left/right in Axiom, driven by a single guitar track. If I turn the Pan (actually 'Balance' when working on a stereo track) knob away from center CW's console, all I'm doing is turning one of the two amps down, screwing up the relative volumes of the pair. That's where having a Width and (true) Pan control would be nice. Width to reduce the hard left/right pan to something less extreme (say, 20% L / 20% R) and then a Pan to rotate that whole pair over towards one side or another, without changing the relative volumes of either amp. Of course (in this particular case) one can go back into the amp sim and pan both amps straight up the center. Then the Pan control will move them left or right in the mix without changing their relative volumes. But now they're both coming from the same position... Great that it can be done with various plugins, but this seems like a function of the Console. I'd like to see it added there, rather than relying on 3rd party (or pre-Bandlab) plugins.

That demo is amazing... possibly proof that Zynaptiq has made a deal with the devil. As it's outside my price range (see also their reverbs), I'm thankful I have no particular use for it.

Now I want to see a Grace Kelly & Leo P. cover of same...

Fame cover Recorded this one in December of last year. Technical data, such as it is. Nothing fancy going on here. Drums: Session Drummer 3 Synths: Hardly any. MODO BASS providing the bass part, as it so often does. A little bit of TruePianos Cakewalk which I bounced and reversed, and a TX16Wx for the vibraslap Guitars: 5 tracks recorded with BIAS FX, from back before I'd discovered Blue Cat Audio's Axiom. Effects: standard ProChannel modules, plenty of BREVERB in various places, some 2getheraudio ST3REO on the vox, Arturia's DELAY Tape-201 on the lead vox, and Ozone 8 doing its thing on the master bus. And much Melodyne Studio 4 to make the singing vaguely acceptable.

And that's why I run "Waterfox Classic" as an alterative browser. It's a fork from an older version of FF before the Great Breaking of all the Plugins, and as such can still run all the old Plugins, most notably "FlashGot" — which lets you download videos from all sorts of websites, as well as YouTube.

I've got Syntronik and Arturia Collection 6. I never use Syntronik, and use something from Arturia (the Mini, the Jupiter, the Prophet, or one of the organs/eps) on nearly every project. Biggest problem witn Syntronik is, being sample based, it takes an irritating amount of time to switch presets. With hundreds (thousands?) of presets, I've never been patient enough to listen to the vast majority of them. And I'm of the opinion that whatever realism improvement there might be from using samples of the real deal — versus just doing it algorithmically — will be lost in the mix. Particularly after you add chorus/delay/reverb to fluff up the sound to "as heard on records" quality.

A pleasant-sounding powerful subtractive synth with a nice 1-screen UI (that doesn't try to look like 50 year old hardware) and 2500 presets for $10. No brainer! Hoping I can retire the Arturia stuff I normally use, simply because I can never remember the arbitrary limitations inherent in emulations of gear from the Olden Times.

Excellent! Bought. And if you purchase this month they throw in a free "EDM Mega Pack 1" (normally $47 or so they claim) which has around 10GB of... stuff. Samples, loops, 'construction kits'(?), 'drops', FL Studio templates, presets for synths I don't have (Serum, etc.), and a host of other stuff I'll never use. But hey... free sh*t!

Speaking of Overloud... have they ever offered a 'deal' on BREVERB2? I use the Cakewalk edition of same for everything, and would like to have the complete version with the extra algorithms and whatever else they throw in. But not for $149.

I've got all their stuff. Some of it is of minimal use to me, but I can heartily recommend the CL4P, SN4RE, and K1CK percussion synths. As well as the ST3REO widemofier thing. And all of it's worth at least $10/ea.

Well, if I remember my high school Spanish - and I don't - "crotales" are either a Mexican dessert, or the dangly bits on a man. Possibly both. Either way, a welcome addition!

There are many things called a Line 6 Toneport, so I'm not certain which one you have. Some of them appear to be mono interfaces. What you need is, at minimum, a stereo audio interface. On one channel you'd either hook a mic aimed at your amp, or the amp's "modeled out", if it has one. On the other channel you'd record the dry guitar from your DI box. (Assuming your DI box has a pair of 1/4" jacks and an xlr. You plug the guitar into one of the jacks, run a cable from the second jack to the input of the amp, and connect the xlr output to your audio interface.) Depending on what line 6 amp you have, you might not even need the di box. Some amps have a dry out for just this purpose. --- Personally, unless you love the sound of your amp, I'd forego the amp entirely. Just record dry guitar into the daw and do the amp/fx stuff in the box. Simplifies matters, lets you record silently through headphones at 4am, gives you the option to build more complicated patches than your amp can presumably do (e.g. dual-amp seups with different fx chains on each, etc.

Thanks for the heads-up, both on the compatible-with-my-lifestyle pricing and the suggestion to favor the VST2 version. Bought!

Huh! Been using CW forever and can't say I've ever even seen those dots, let alone known that they served some useful function.

Don't think you can do it without using some third-party program (e.g. "mediainfo", "ffmpeg", "vlc media player", etc.). You can make an educated guess, though. Right click, Properties | Details. Bit rate will be one of a few common (and unfortunately, not unique) values: 44.1/16bit mono = 705kbps 44.1/16bit stereo = 1410kbps 44.1/24bit mono = 1058kbps 44.1/24bit stereo = 2116kbps 88.2/24bit mono = 2116kbps 88.2/24bit stereo = 4232kbps ...and so on.

I'd imagine most people have Windows set up to use their on-board Realtek audio by default for all the windows-related beeps and boops, browser audio, and whatever else needs annunciating, while using a Professional-ish ASIO audio device of some sort strictly for their DAW. At least, that would be my recommendation.

Thanks for the kind word, guys! I've been doing nothing but covers on-and-off in CW since the mid-'90s, mostly as an intellectual "try to figure out all the bits that make up the song" exercise. Other than my wife (who wishes I'd wear headphones while I'm looping two bars of a song over and over again — she has a point), and a handful of friends that I send them to (where they're probably deleted, unlistened) nobody's ever heard my stuff. It's nice to think that the end result isn't wretched, and that I'm not necessarily living in some delusion bubble. We all knew that one guy who sings and plays guitar and was determined to 'make it' in the (now deceased) music business, despite having no talent for either. Don't be that guy. And while it's lovely of you to compliment my singing, I can assure you it's entirely a function of the Power of Computing. "The computer sees the off-pitch warblings as a series of 1s and 0s..."

I won a free copy of Breaktweaker from Sonicstate years ago. It's neat, and gives you a way to do all those Skrillexy slowdown/stutter effects and whatnot. Can't say I've ever used it for anything — not my scene. If you've ever wanted to do something like that, it's certainly a bargain at $18. I've also got Vocalsynth (1). I've at least used it once or twice for some vocoder-ish effects. Not an everyday effect by any stretch, but somewhat useful. Of the three listed in the deal, Trash 2 is the only one I use on any sort of regular basis. Can be useful to destroy a sound and then just mix in a touch of that signal via an aux or whatever.

Agreed!

Not saying they shouldn't display the octave # in the blobs as well; it's very useful information. Just that shouldn't be an all-or-nothing proposition tied together with the accidental. In image #2 I can tell that it's a Dsomething in the 5th octave by context. Both by the existence of an E5 right above it, and also the piano keyboard (not shown) on the left edge of the PRV, which has a C5 aligned with the white octave line below the D.

Howard the Duck -- something George Lucas can look back upon and say, "Y'know, my Star Wars Holiday Special wasn't so bad after all!" The kids today think they know 'cringe' -- they didn't live through the '70s and '80s. We were there at cringe-zero!

Other than Photoshop from 5 or 10 years ago... They clearly have the 'B' team (at best) doing the PS and Illustrator development these days. They introduce new bugs faster than they stamp out old ones, which isn't saying much since there are well-documented bugs that the users have been complaining about for years. But there's no time to fix old bugs (or improve stability) when there's exciting new features to develop that no one ever asked for -- like a spellcheck in Illustrator. But I'm completely down with you re. the $600/yr "designer tax". A merry go round I can never get off, without losing the ability to access anything I've created in the last decade.

As someone who spends a lot of time in the PRV, I feel that the note name display glossing over a crucial bit of data here. See the highlighted line, which is a C# (or Db as the PRV insists, but that's another matter). In the first image there's almost certainly enough space to stick a lower-case 'b' after the D. In the second image, there's enough space to stick a '...' (and definitely room to stick the lower case 'b'). Not until the third image is it willing to mention the most important aspect of the note, that it's a Db and not a D. Not telling me that until there's room to also tell me what octave it's in isn't entirely helpful. I don't care what octave it is; I can already tell that from context. Ideally, I'd like to see whatever the PRV prints in the note blobs clipped to the printable area within the blob. If that means the flat or the octave number is partially truncated, that's fine. Better that than it tell me something that's flat-out incorrect: the note is not a D! Or, if clipping the text is a performance thing (seems unlikely), I'd settle for it displaying as many characters as it can fit within the blob (e.g. at least display 'Db' in image #2, rather than waiting until there's room to display the full 'Db5' within the blob. Not telling me that it's a Db, instead indicating that the string has been truncated via the '...' is of debatable utility.

Bit of UI weirdness has shown up in 2020.05 build 039. I have a project saved with multiple tabs open in the Multidock. Open it, display the Console, save the project. Close and reopen the project, and the Tempo window is displayed in the Multidock (or whatever the rightmost tab in the list happens to be), even though the Console tab is the selected one (no black line above it, has the close tab 'x' on it). Touching the Console tab fixes the issue. Running nVidia driver 432.00 on a GTX750, haven't changed either in probably a year. FWIW.