mettelus

Manual adjustment is going to yield the best results. Both variations to timing and velocity are going to be present in a human performance, so working in the PRV with snap-to-grid OFF you can either nudge or manually move notes to taste for timing. Velocity can also be adjusted in the PRV or with an automation lane. CAL scripts aren't terrible, but you often will need to adjust any "humanize" function after the fact anyway. What you do not want is massive variations either, although it is very common for a piece to have pretty obvious shifts in velocities based on sections (verse, chorus, etc.). Keep that dynamic in mind as well.

Need to sort of rewind on this for clarity about MIDI first. MIDI can be totally confusing to someone who hasn't experienced much with it, and all that MIDI note data consists of (in essence) is note ON/OFF timing, pitch, and duration (what each MIDI note in the PRV is displaying visually). Unless there is MIDI note data present, the playback engine will do nothing (lack of MIDI note data is all rest with no need to specify duration as folks above alluded to)... the engine only reacts to Note ON info. In Cakewalk, the Piano Roll View and Staff Views are linked, so composing in one will populate the other. If you compose in PRV, the rests will appear in the Staff View (as required) if you need to print the score, but the flexibility and advantage of PRV is that you do not need to input any rest duration (which would impact the note ON that follows it). Many people default to PRV due to this flexibility.

I learned an interesting piece of trivia just recently, but should have known the punchline already. I was asked, "Do you know the official name for Bangkok?" and there are slightly longer versions I have seen, but the official name is 168 characters long (longest city name in the world) and takes 24 seconds to pronounce in Thai! I had to admit I had never seen that but it was no wonder it is rarely ever seen... imagine trying to place a 911 call with it, ugh.

I need to delve into Riffer again at some point, but actually bought Guitar Pro to facilitate this specifically for Ample Sound products. You can fairly easily set up GP to send its output to AS (doesn't "always" hit strings properly) for composition, but the resulting gpx files can be imported into AS (which does follow strings). AS has been very good with keeping up to date with the latest GP version, which is also why Riffer fell to the wayside for me.

Need to post a quick reply so I remember to download when I am back on the computer.

I haven't lost any hardware (yet) from Win 10 upgrades, but the Win 7 -> Win 10 got a couple. Edit: I was going to make a comment about deleting the Windows backup directory, but you actually shouldn't have one.

LOL, most IR loaders only have a limit on wav length and will use anything you feed them! Even if you got that down to 2,000, that is still a LOT to sort through. I actually just checked and God's Cab has 3611 files in it (the Window's half)

There was definitely no suffering involved in the situation; it was instantaneous. Water pressure is roughly 44 psi/100' of depth, so when it lost contact it was seeing close to 3 tons per square inch (roughly 5500 psi). I got a few calls about the incident yesterday that only left me more irate at the CEO based on information published thus far. I have always used the same demonstration for folks over the years about brittle fracture. If you take a simple straw, pinch both ends, and then spin your hands to roll the volume down to about an inch; someone else can flick that part with their fingernail and it will explode. It very much wants to break, but just needs that little extra oomph to get it over the edge. It is always sudden and catastrophic. I worked with a gentleman years ago that I have always considered the father of fracture mechanics... he calculated stress fracture out and used it long before it existed as a specialty. He was 50 years older than me but used to stop by and chat because he considered me "old school" (I always took that as a compliment). One thing he said when x-ray machines were introduced for NDT to find internal fractures always stuck with me. The sales rep was bragging about the smallest crack they can detect and he stopped them and said, "I don't care about that. What is the largest flaw you can miss??" The CEO firing someone (if that report is true) and saying that NDT on the hull was not possible just struck another nerve for me. Sorry for the thread hijack Kenny One of the guys I worked with just retired after spending his entire career in the DSRV (Deep Submergence Rescue Vehicle) community - the folks on call 24/7 to rescue submarine crews regardless of nationality. For anyone who has ever been involved with the submarine community, you know we always take incidents like these to heart, and sometimes personally.

LOL, this is good. All those years ago when my school suddenly had a TRS-80, maybe I was using Cakewalk and didn't know it!

Yeah, that is not an intro price, so if not going to use it immediately, it should go on sale at some point (usually $49.99). While it does have some features that are nice to haves, the core features I am going to use I need to test first. There are only 3 videos out so far (all by Steinberg) and some of the 9 vs 10 comparisons on core functionality weren't that spectacularly different (pun intended).

It is unfortunate and almost remarkable how much press came out over this, but what I found most interesting was the dirty laundry that got aired. There is a simple reason that titanium is not used in pressure-vessel design... sure it can handle incredible pressures, but only a few times before it begins to propagate microscopic cracks and lose its depth rating. The CEO bragging about cutting corners and blowing off the deep submergence community made me rather irate when I read them. An adage used in the submarine force that my first boss quoted often was, "The stupid shall be punished," but it is rather horrific for that punishment to befall others.

The issue with collecting IRs is the same as with collecting samples, you can have thousands of them and take hours to sort through anything. In many respects, the capability of the IR loader/reverb you are using is much more important than the IR file itself (just listen to a few IR files solo sometime and it will show how much the IR is doing versus the reverb algorithm). That said, LINE 6 has several threads on free IRs with links; but if I was going to limit myself to only one set, "God's Cab" from Wilkinson Audio would be the one I would recommend. I have used that set more often than not and is loaded into my hardware, but everything I use it in also has the ability to tweak the crap out of the reverb generated.

I am not sure how long it takes for them to get a trail version available, but planning to wait to run that. There are a few posts already complaining about older CPU performance and some of the algorithms, so I actually want to run this on real (not cherry-picked) material before buying.

Thanks for the direct feedback Robin! We don't get that in here too often anymore.

Not having ever used Reason, does this truly mean "run" or "install"?

A couple things with the Chord Track in S1 that seem to get misconstrued at times: 1) It uses the same functionality as Melodyne (and Melodyne can be leveraged to achieve this today), but I did check when it was first released and it is baked into S1 (no Melodyne was required to make it function in S1). 2) The chord track allows for adjustment of both audio and MIDI material after recording, which makes it a nice composition tool in that regard (especially if doing something like using loops that sound cool but are in the wrong key). The tempo and chord tracks combined will let one drag/drop material almost willy-nilly and make them conform to the tempo and chord structure of the piece but also allow them to be changed after the fact from those two track guides.

This update looks to be pretty significant. I am a little disappointed that they didn't demonstrate the unmix components specifically, but a few of the operations they did were done by that (pulling the drum track apart). The processing time in 9 is significant when working with master tracks as it is. I certainly have enough material to stress test this guy on once the demo is available. Also makes me curious if they have a free 9 to 10 upgrade window for the folks that have been asking about this.

A lot of the paid versions are MB if they have a single-band counterpart (in many of those cases the single-band is in the free bundle). Just to make sure, SpectraLayers is a Steinberg product, not Melda. I wasn't sure why you had mentioned that one.

This one is rather interesting. 65% off bundles makes this the cheapest I have ever seen even with all of the things added since I got mine years ago. A first-time buyer could jump in with a massive savings (referral code and the $10 off for email signup). Folks should start posting their referral codes!

Cakewalk used to be almost across the street from there and the only course I ever saw offered for Cakewalk wasn't free. @jesse g The music theory course was pretty basic but did have some interesting content. The instructor looks the same, so not sure if is the same video files (I took that 10 years ago now). There was a similar one in name offered from a Scottish school that was rather hard core. I forget which company offered that one though (Coursera sounds familiar).

I have never been a fan of laptops, but they do serve a purpose for portability/field work. Getting too carried away on upgrading one can become cost-prohibitive to be sure. Since they are crammed so tight, the components are at a thermal disadvantage right away. As you do video work, a desktop even a couple or more gens out of "bleeding edge" is going to pack a lot more bang for the buck and be more useful longer. I am glad you were able to return the card without issues. Unless you "need" better graphics, it might be something to forget about on that HP and focus for its eventual replacement.

The blinks/beeps are codes that the BIOS is giving you. Need to check the manual to see what those mean for certain. It is possible that the new card is actually bad (don't rule this out since you swapped the old back in and it works), but also that it is not compatible with HP... probably what the BIOS codes are telling you. Some laptops have VERY proprietary architectures in them (HP, DELL, and that lot), so research that particular machine for more info. A guy at work wanted to upgrade RAM in an HP and it was a no dice venture because the original RAM was actually soldered in (no socket)... profile was so thin that the other "socket" couldn't take anything anyway. Same machine also had an epic fail from running Iobit's Driver Booster... the drivers on that machine were required to be HP or they didn't work.

Unfortunately, Overloud removed the free TH3 packs from there website (though THU has more free than TH3 ever had). You may try contacting Overloud and see if you can get the old TH3 ones (their support has always been good for me). This site has a TH3 archive, BUT it looks like most are custom presets... take those guys with a massive grain of salt, since they tend to be inundated with FX. A Google for TH3 preset sites may help, but if custom so much depends on who made them. However... If new, Byron's advice is spot on... more is often destructive. In any FX chain you want to KNOW what the signal is out of one FX/component that is feeding the next, and internal to a VSTi this may not always be obvious. Time-based FX (chorus, delays, reverbs) should almost always be at the end of the chain (simple reason is you do not want to apply FX to the tail, but a tail to the output). A basic approach is clean up signal, compress if needed, amplify and FX chain. Also, a great learning tool is to take a pre-made chain, then do extremes on controls (minimum/maximum) one at a time to see how they affect the sound. Some of the presets that came with TH3 are fine to start with, and is easy to swap out components to see the changes that result. Be judicious with use and know what each component is doing (to the next one)... simple chains are best to start with. Amp sims also have a tendency to create unrealistic harmonics, so a LPF on the signal set to 8KHz (+/-) before it goes into anything (the clean up the signal step) will keep you from passing that into the final output.

Don't usually see BETA's released, but maybe the massive numbers of MDrummer users on Bitwig played into it? I can hold off for an official release.

Yeah, that patch isn't a perfect match, and the tones gain gain frequency separation during the cressendo. I am not familiar with either synth, but looks like 3 oscillators with pronounced harmonics and a frequency delta between them. You can look at the mp3 with a spectral analyzer to see what I mean (posted a quick screenshot of that mp3 file below). The original looks very similar but is hard to isolate with everything going on.