mettelus

Not a lot of the really cheap ones stand out as unique in either design or application, but three of the ones 59% off set stand out (all three have a pretty heavy focus on removing frequency collisions): MCharacter, which is a unique timbre-tweaking tool best suited for monophonic material. MStereoSpread, which is fairly unique in its processing that will always collapses to mono without issues. MSpectralDynamics, which @El Diablo had asked about in the Soothe2 thread a while back; that is now $89, so less than half of the cost of Soothe2.

Ack, that just re-affirms my perception that BandLab is more of a social media wannabe. There is nothing in that ad about (quality) production at all.

This window may actually time well with the potential CbB de-activation phase after release, so I wouldn't get too worked up with it. Also bear in mind that a lot of vendors bent over backwards to accommodate SONAR users when Gibson yanked the rug out from under us. Most are aware and watching for what happens Next (pun intended), so I would expect sales to accommodate any potential "CbB refugee" situation in the coming year.

Quick followup on this guy... there is no option to control undo history in the app (it is app controlled), but from the manual: "The number of undo steps depends on your computer's memory. The maximum number of undo steps is set to 30." The "Undo History" count causes significant performance issues in media-related programs, so I went hunting for that just to check, but that app itself will remove undo history count based on your computer's RAM availability. So this is actually not an issue.... the memory requirements of the app are fairly low (4GB (16GB recommended), and a graphics card with 1GB (2GB recommended)), so the app dynamically keeps things "within bounds" for your specific machine by lowering your undo history automatically. The structures feature is by far becoming my favorite new one. Watercolor is my nemesis, and I have a bunch of very old pencil drawings I have played with over the years with paints (I have been fine with paints that don't "just run"). With the ability to embed a drawing into the canvas with structures, watercolors just "paint themselves" now. In the digital world you can cheat SO much... I kept laughing because the "eraser tool" isn't available to anyone doing real watercolors, but is a handy crutch for people like me.

The above video was linked in the Rebelle 7 manual (go figure, since it is from version 5), but there is a new feature video out. I have not tried some of them yet, but the new version has better tracking of paper/paint height which will allow embedding "structure" into the paper itself from another image (roughly the 5-10 minute section of the video below). New feature marker list for the video below are (I bold-faced the more impressive new features features): 0:00 Introduction 0:25 Metallic Materials 2:53 Color Panel 3:18 Metallic Materials Demonstration 4:45 Improved Art Surfaces 7:59 Structures 11:43 Fill and Gradient Tool 12:25 Improved Ruler Tool 13:40 Filter Layers 14:43 New in Brush Creator 16:14 Redesigned Wet and Dry Media 19:20 User Interface Updates

Yeah, I'll be dead before Studio Six 9 comes out.

+1 to the above, a big advantage to the console is capturing automation far more easily than you can in track view, but it requires some real estate to work with both open. Another option to consider if low on real estate is to open and undock the Navigator to give you quick access to the timeline visually. A big part of things is playing around and finding what you feel most comfortable with, but there are pros/cons to all views.

Or you could buy an SM7B foam windscreen separately and stick it on the end. Then just tailor the video so no one can see the rest of the mic!

I have been playing around with the metallic paint in this and it is just so incredible it cannot be put into words... more the "Wow" reaction over and over. Some quick tips for folks allergic to RTFM here (the metallic paints are only available in the PRO version): Metallic paints need a metallic layer to get full effect (the diamond icon in the layer panel). The metallic effect only works with Acrylics and Oils, and the metallic-specific brush set is at the bottom of the brushes. The Flat 2 brush gives the best texture effect (what is used in the demo video in the OP). Some reworking (blending, wetting, etc.) or over-painting actually degrades the metallic effect, so be conscious of the Re-Wet setting in Visual Settings (low, or even zero will prevent the metallic paint from being disturbed). The Visual Settings window is also your friend... control of the metallic materials properties is at the bottom. That window is a good one to leave open while working anyway, and is a good playground to test paints. BEWARE (this may be huge for some folks): I left paints wet to try out different things and was going to town playing around. RAM usage started to hit upwards to 16GB, and I was just working on an 8.5 x 11, 300 dpi canvas. The more paints remain wet while working, the more RAM is required to react to additional brushwork as it dries (almost a "real-time" effect here). Again, Visual Settings can be your friend to make the paints dry quicker (or dry them manually). Quick followup on this guy... there is no option to control undo history in the app (it is app controlled), but from the manual: "The number of undo steps depends on your computer's memory. The maximum number of undo steps is set to 30." The "Undo History" count causes significant performance issues in media-related programs, so I went hunting for that just to check, but that app itself will remove undo history count based on your computer's RAM availability. So this is actually not an issue.... the memory requirements of the app are fairly low (4GB (16GB recommended), and a graphics card with 1GB (2GB recommended)), so the app dynamically keeps things "within bounds" for your specific machine by lowering your undo history automatically. (I also posted this a couple comments below). Again, a stylus input is highly preferred to get optimal use from the application. I actually ran across this old video while researching metallic paints (there aren't any yet for that), and even though it is from Rebelle 5, the first few minutes is a nice breakdown/description of what makes Rebelle unique in the painting-applications world (a big part is because their start was with watercolor realism).

Check Windows Sound Settings first and be sure that the device is set to the proper bit-depth and sample rate for the project. Unless there is a hosting program specific to that mic to override Windows settings, Windows takes control of USB devices as soon as they are plugged in, so you will only be able to change the microphone properties in Windows Sound Settings.

Convology XT Complete is included in the MAGIX Samplitude Suite, so that is something to be aware of. The Samplitude Suite also includes the current version of SpectrLayers Pro, so can be more bang for the buck if you do not own those products when it hits a sales cycle.

This is a bit of a misnomer IMO, since necks are not as fragile as some people claim, or the guitar they are working with is not built properly to begin with. A 12-string acoustic sees over 200# in standard tuning (even with 10s), so tuning strings down isn't going to twist a neck. But what may be needed is action adjustment (truss/bridge) to accommodate the lowered tension. My main has one of the thinnest necks made and is a 25.5" scale length, and I often over-tune it 2 steps up when putting on new strings just to get the strings to wrap the tuners in "one take," as it were, then lower it back to standard tuning. I have seen some people tune the strings to the EMaj chord to that all of the harmonics are now chords, and they are adjusting tension up. Even benign things like a a heavy set of strings (says 9s to 10s) adds roughly 3-7% tension to the entire neck, which you will notice when bending strings. D'Addario has a detailed string tension pdf, but you have to mine through it... this site seems to have them all scripted which is rather nice. You can easily check tension for your tuning, and if you think that is "too much"... swap everything out to the next higher string gauge (or even set the scale length to 25.5) and see how big a difference that is.

The "Save As.." dialog can also be your friend when you have done multiple iterations of a project and have a lot of bounce files no longer being used. When saving to a new folder, only the files required by the cwp being saved (be careful if you have multiple cwp files, you need to do each one individually if you want to keep them all) will be copied over to the new directory. This is useful if you have a truckload of bounces you are wanting to get rid of in the original project folder.

Mouse click behavior is controlled by Windows, so there are no settings to adjust that within Cakewalk. This site has a pretty comprehensive rundown on troubleshooting a mouse, but I would start with checking your double click settings in Windows Mouse Options before diving too deep. Some mice also have proprietary software to customize buttons, so you can override defaults to other things (like to do a double click), that is another thing to check if you have one of those (e.g., Logitech).

The original parts themselves should also be under warranty, so definitely look into that as well. A manufacturing flaw in electronics may pass final test, but if there was one, it often manifests itself in the first 30 days once it gets put into use.

Everything that generates friction has some amount of static (vacuum or blower), which is why you always want to have a grounding circuit when working on electronics. Although some components are designed for a "typical arc," many are not, so even the static you generate walking on carpet in winter can arc when installing simple things like RAM modules. For computer work, working with one hand and using the other to grab the computer chassis is typically sufficient. Going to the extreme end with friction/static... helicopters can generate 50KV or so of static, which is why if you are rescuing someone at sea you always ground the helicopter to the ocean before grabbing the person.. although that is DC current (packs a real punch, but shouldn't outright kill you), it is not something to hit a potentially drowning person with.

Clip gain adjustment only works on the clip that is actively being hovered over (one at a time) and was reported as a bug recently. This actually adjusts the gain of the clip so is not overly practical (it is not a "zoom," per se). For the OP, I admit the "all tracks" is a little confusing, so John probably is on point that the waveforms are not easily viewable "as is"? There is also a waveform zoom (dB meter just left of the waveform in the track view), the cursor is a little waveform tail and up/down arrows, but again needs to be done one at a time. This method is a true zoom (no gain insertion), but not an "all at once" thing either. "All tracks" confused me, since there is only so much real estate to play with, so zooming 8 tracks can fill up a screen (even via zoom/reset view). There are also shortcuts to zoom selected tracks to fit screen (all at the same height), etc., but if the underlying issue is the height of the waveform itself in the track, I do not know of an "all at once" cure for that.

Quick note, get in the habit of saving both project templates and (more importantly IMO) track templates when you put that much work into routing things that you may ever use in another project. Track templates are more ideal, because you can save multiple tracks that are project independent... so you can simply add a track "from template" and Cakewalk will insert all of the tracks, routings and busses that you saved. It will save you a lot of time going forward. Always, always save intricate routings as a track template.

Are you getting any motherboard errors from powering the machine on? That is about the only internal diagnostic that will let you know if components have failed (as the MB "sees" things). The reason I ask this is because when something loses power it is typically not destructive (sudden voltage drop is not, and the source is designed to take the arc), but if there is a spike involved prior to that power loss, it can be destructive. "Selective tripping" is the term often used to define this, basically the arc from power surges needs to be controlled at the device closest to the power source that can take it. In a situation where the power source is what caused it, that protection may have been bypassed with the failure, so everything that was plugged into it at the time is now suspect. Unfortunately the troubleshooting on this either requires diagnostics of everything in question (not simple) or swapping out the suspect parts to see what is good and bad. NVIDIAs driver cycle includes a brief on/off reset to the card to allow the new drivers to install, but if the power supply reacted to that, the card may have failed and transmitted that surge to it as well. Both of those components reacted to the "same thing," which is a big concern. That said, there are companies that have very liberal return policies, so you can troubleshoot via that method and return the things that you prove are good if you take that route. For what you described, both the power supply and graphics card are suspect already. You can also contact those vendors directly about what happened and you might get lucky and get into contact with an engineer who knows the design and protective features cold (and can give you a proper answer, and where to focus attention).

[Stupid side comment, since this has already been answered with the sampler option] People don't get how easy they have it these days. In 1984 the Emulator II was ~$8K, with not one but TWO 5.25" floppy drives! The sampler made famous by Ferris Bueller's Day Off.

IIRC, those only needed the serial/registration codes to activate (not internet), and that pop up window occurred during the actual installation. There were a couple that had to be run as administrator during install to register properly in Windows, but I forget the details of them all now (pretty sure that was only Dimension Pro and/or Rapture). If that doesn't have a "register" option when you use it inside SONAR, try re-installing it with the file you downloaded from your account. There "should" be a window during that installation asking you for the serial/registration codes, that will then add CA-2A to your Windows registry to unlock it.

No worries, it was really more to point out the importance of the music theory behind what the harmonies are "doing" and often the "why" is more important. I had someone asking me about harmonies who was fascinated by them but knew no music theory, so rather than try to explain with words (I actually took a shot at this, but was excruciating), I sent her a video dissecting "Seven Bridges Road," which is a good example and did that with Melodyne to visually show what I was talking about. The chord progression is DMaj, CMaj, GMaj, but if you sung it solo, the most prominent notes are D, C, B.... but all of the notes sung by all of the singers fit perfectly on the DMaj, CMaj, and GMaj chords. My point was really to be deliberate about harmonies, so that they match the song. A side note I thought of after the first post was that old guitar pedals had "harmonizers" that just blindly followed the note played (no song key capability), so they sounded cool solo, but didn't work in a song unless you only played notes that had harmonies that also hit the song key (or if you got lucky).

Be careful with using automatic harmonies because your real intent is to make a melody better fit the active chord in the chord progression. With common things like a B note sung over a GMaj chord (G,B,D), you do not want to blindly use 3rd, 4th, 5th, etc. (on that B note), because the note (even if the harmonizer locks to a GMaj song key) can easily fall outside of the underlying chord intent. In the case of a sung B over a GMaj chord, the D (or 3rd if locked to song key) is often the better choice, but only for that particular combination, not blindly all the way through. You've already found out that the interval being static doesn't quite work through an entire piece. Sometimes it is simpler to use an instrument track (pad or strings) to noodle out harmonies like a parallel melody, and be deliberate about it. Then you are doing something very intentional to make the result fit than try to figure out "automation" of something you are not sure what it is really doing. It also forces you into the "parallel melody" mindset... what should that second person actually be singing?

I am pretty sure this is a yes. The ALT key is what is invoking the cursor change (based on mouse position), the app has no idea if you are intending to left or right click at that point.

Whew... good thing they didn't choose "Water" after all!! They would have had a stranglehold on one of the most important markets on the planet (according to Gene anyway). Since their logo has different fonts used in it, I am not quite so sure of that comment though. https://www.kissusa.com/pages/about That company was founded in 1989. I cannot find any references of Gene to that company in a quick search. Again, the "K" in that logo is a custom font, so even their trucks have the registered trademark next to KISS (scroll down to the video insert at the bottom).