mettelus

A friend in high school cracked me up saying similar when I was at his house once. I totally forgot what the subject was leading to it now, but distinctly remember him standing up and saying, "That's it! I am running away. I will be back when I am hungry!"

I use a VPN and clean the registry often enough that it locks out the Product Portal (comes up blank). The way to force that into a log-in cycle is to hold down the SHIFT key when launching the Product Portal. I basically have to log in every single time now; it does not remember anything. Quick Edit: I got that "blocked" message at one point too, and the shift-launch reset that as well. The account wasn't "blocked," it was the Product Portal settings.

That is a good point. My initial take on that was there was no endorsement or gratuities associated with them.

It is not an overly complex plugin either, so not a lot to update there. It just does what it does. The only "nuisance" with it is that it introduces noise even with the transport stopped; one of those things to be aware of before you start troubleshooting your audio interface.

Boy, the very last line in that article is rather painful... "And there are big-name players who don’t play them onstage, but on their records, you hear them."

You can use the Wayback Machine website to view older versions. SoundBytesMag has been "Saved 243 times between November 25, 2013 and September 18, 2023," so includes some after the ownership switch.

This isn't browser based, it is in the forum software. I actually got a new phone last month, and the forum software caused the phone to reset late last week (through a VPN using DuckDuckGo). After reporting that, the phone's App Loader snagged another instance next go-round, so I sent that off to Google asking them to kindly notify me of which app this site is trying to install/use that got intercepted.

A good portion of products use modules from others, so that is something to be aware of when looking at things. MXXX is a beast that is so complex that I have only used it to play around (it will tap into every Melda FX and even synths) and is difficult to track afterwards on what is being done; but this comes across as a very tailored version of MXXX limited to guitars only (which is actually a good thing to keep perspective on what is going on).

They have both gone on sale for roughly 40% off during Black Friday's in the past, but I cannot remember if that happened last year(?). The trial on Pro is 30 days and definitely something to try out to see how you like it (be sure to run through the tutorials as well to see what it can do). A lot was added with 14, so for just dabbling you may never need another version of it (MOHO is a perpetual license).

Only the complete kits show up in the "Drum Tornado 2023" directory and they are the same list for all three sets. The individual kit pieces are actually added to Drum Empire 2020 (since this is really an update to that). I had a very odd bug from loading into an existing project. First, the load and play lag is very noticeable, and second, there is a massive sample rate mismatch between the project and MDrummer (but only for these added kits). I backed out of that and created a new project to check them and they played fine, but there is still a noticeable play lag within MDrummer when using those kits.

This is the only the only part of the reply that addressed my concern. The rest sort of confirmed it (hence the cynicism).

+1 on the bass aspect. Lower frequencies have more power to them, so not only watching the kick/bass, but also applying HPFs to instruments to remove the unnecessary low end can give you more headroom in the mastering part. Many (most is probably accurate) limiters/saturators operate in broadband mode (across the full spectrum), so intense low end content will make it reach its limit settings first. Some limiters do have multi-band (MB) capability, but be very careful with crossover bands with these... I have noticed over the years that the lower the fidelity of the playback system, the more obvious crossover bands become (in any MB FX).

I do like the "2 years later..." tag above the exhumation! The semi-hidden, necro-thread alert. Cakewalk remains in a very unique position in that people who have onboarded with CbB (i.e., no access to a prior product) will "eventually" be put into a position where their work can be held hostage based on current pathing. These threads have become interesting to me more from there psychological perspective; specifically who is chiming in, what they are saying, and what is their motivations.

The human voice has a lot of harmonics in it, so it is often best to treat a single voice as "monophonic" to keep those overtones linked to each other. Melodyne's editing capabilities are powerful, but not always obvious, and some of them have nuances you need to see/work out to understand. When I want surgical control of the harmonics themselves, I default to using MCharacter for that task specifically. Some voices have an incredibly pronounce octave (which is why Melodyne can "jump" like that, the octave suddenly triggers "more prominent"). There was an old thread years ago on the old forums about composing with "only stock samples" and I found an old project late last year where I went in with that focus, but of course it drifted to samples only being a portion. I used vocal samples and added melisma to them with Melodyne. Those came out perfect, but I realized that level of editing/manipulation goes a tad beyond "just using them" (why I jacked the brakes on that project), so I tracked the artist down and she was cool with it. She made me chuckle when she had said, "Wow, what a nice gesture. No one has ever followed up with me like that before."

To add to the above... when collaborating, YOU are responsible for your portion, so they only need to hear your work as if it were a monitor feed (all one track). You can simply bounce all of your drum work to a single track (or export just the drums into a stereo wave file). On their ends, they can simply import that single track to work to it, and make suggestions back to you; on your end, you are doing the surgery so need that all accessible to make the adjustments. If you go the "bounce to track" route, be sure to mute that track when you are working (or delete it between export cycles). When you get to the final mixing phase, then is when to consider who is doing that, and that person will then need ALL of the stem files separately (for the whole piece). It is not until that point that it is required, so the single stem similar to a monitor mix is all they will need.

If you have MIDI in a project, there have been issues in the past with MIDI notes not firing properly at the very start of a project (there can be a lot of information jammed into the project start in the timeline). The "workflow fix" to this is to actually have a project start on bar 2 or 3. Even though this has "been fixed" over the years, I still do projects with the first 1-2 bars empty out of habit. That delay lets all of the information be processed from the project start well before any notes are triggered.

Can you expound on this a bit? Are you saying that sometimes the song plays immediately when hitting the spacebar, but other times there is a delay first? Depending on FX plugins used, there can be a latency jump due to some FX (especially mastering FX that have a "look ahead" to them). For tracking (recording), it is common to have FX disabled (hotkey E to toggle), and audio buffers in preferences set lower, but when you get into post-production (mixing/mastering) adjust those buffers higher so that playback is smooth (but not always prompt).

The Gridlines should adjust based on your zoom level. If you hold Z and drag an area, they will redraw to a pretty precise level (although there is a limit). There is also an Aim Assist (hotkey X) that shows the the timebar location of the cursor that might be helpful for you.

Another option is to use "Set Measure/Beat at Now." As long as the stems align, you can TAB to transient (a drum track is best for this) and using SM/BAN "anchors" the timeline to what you specify. Depending on drift, you may need to do it more often (to get a steady curve), but if pretty close every couple of bars is most common. Be sure to anchor the start of the clip as well or it can go weird if you backtrack to make changes. This doesn't modify the audio in any way, it just pins beats to where you choose. Set the tempo to something close before starting, then when you use SM/BAN (hotkey is Shift-M) it will auto-fill the value more precisely. Just realized TAB to transient is no longer default, but in the help file there is a quick blurb on how to re-enable that.

Check the clip properties in the Inspector (hotkey "I" toggles the inspector off/on... and then the "clip" tab at the top in your picture in the upper left). Do you have a "snap offset" value showing in that? IIRC, if that value is anything other than zero it will show a vertical line in the track view to reference where the offset lands.

Another FYI with NA... it will hang on load if you are using a VPN. The last two versions I have had to kill the app, disconnect the VPN, then restart NA. Edit: The newest version (3.5.2) resolved this issues as well.

Another thing you may want to look up is "tempo map." When replacing real-time audio with another track, you will want to align the original audio to the beat markers so that working with MIDI is timed correctly.

If you hadn't reported it I would have never known or cared. Now I know but still don't care.

LOL, hence the "Captcha hell" I was in earlier this week.

When a Region FX is active (clip not bounced nor Region FX removed), the FX has control of the clip you are working with. It's job is to modify that data and send it back to the DAW. If you are recording new takes, either remove/bounce those Region FX or work in Melodyne standalone. Modifying a clip in Cakewalk doesn't change the wav file in the audio folder, which is what Melodyne has control of with a Region FX active. Same holds true for external editors added to the Utilities menu.