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allan holdsworth: Discography Solo albums Studio 1976: Velvet Darkness 1982: I.O.U. 1983: Road Games (EP) 1985: Metal Fatigue 1986: Atavachron 1987: Sand 1989: Secrets 1992: Wardenclyffe Tower 1993: Hard Hat Area 1996: None Too Soon 2000: The Sixteen Men of Tain 2001: Flat Tire: Music for a Non-Existent Movie 2016: Tales from the Vault Live 1997: I.O.U. Live 2002: Live at the Galaxy Theatre (DVD) 2002: All Night Wrong 2003: Then! 2007: Live at Yoshi's (DVD) 2018: Live in Japan 1984 2019: Warsaw Summer Jazz Days '98 (CD & DVD) 2020: Frankfurt '86 (CD & DVD) 2021: Leverkusen '97 (CD & DVD) 2021: Leverkusen 2010 (CD & DVD) 2022: Jarasum Jazz Festival 2014 (CD & DVD) Collaborations 1980: Conversation Piece – Part 1 & 2, with Gordon Beck, Jeff Clyne and John Stevens 1980: The Things You See, with Gordon Beck 1988: With a Heart in My Song, with Gordon Beck 1990: Truth in Shredding, with Frank Gambale/The Mark Varney Project 1996: Heavy Machinery, with Jens Johansson and Anders Johansson 2009: Blues for Tony, with Alan Pasqua, Chad Wackerman and Jimmy Haslip (live double album) 2009: Propensity, with Danny Thompson and John Stevens (recorded 1978) Compilations 2005: The Best of Allan Holdsworth: Against the Clock 2017: Eidolon: The Allan Holdsworth Collection 2017: The Man Who Changed Guitar Forever! The Allan Holdsworth Album Collection (box set) With other artists[edit] 'Igginbottom 1969: 'Igginbottom's Wrench Nucleus 1972: Belladonna (released as a solo album by Ian Carr) Tempest 1973: Tempest 2005: Under the Blossom: The Anthology Soft Machine Studio: 1975: Bundles (band member) 1981: Land of Cockayne (guest musician) 2003: Abracadabra (as Soft Works) (band member) Live: 2003: BBC Radio 1971–1974 2006: Floating World Live 1975 2015: Switzerland 1974 (CD, DVD) The New Tony Williams Lifetime 1975: Believe It 1976: Million Dollar Legs Pierre Moerlen's Gong 1976: Gazeuse! 1978: Expresso II 1979: Time Is the Key John Stevens 1977: Touching On 1977: Re-Touch Jean-Luc Ponty 1977: Enigmatic Ocean 1983: Individual Choice 2007: The Atacama Experience Bruford 1978: Feels Good to Me 1979: One of a Kind 1986: Master Strokes: 1978–1985 (compilation) 2006: Rock Goes to College (CD/DVD, live in 1979) U.K. 1978: U.K. 1999: Concert Classics Volume 4 (live 1978; reissued variously as Live in America and Live in Boston) 2016: Ultimate Collector's Edition (box set) Gordon Beck 1979: Sunbird 1980: The Things You See Jon St. James 1986: Fast Impressions (guest soloist on "Fast Impressions" & "Rainy Taxi") Krokus 1986: Change of Address (guest soloist on "Long Way From Home") Stanley Clarke 1988: If This Bass Could Only Talk (guest soloist on "Stories to Tell") Stuart Hamm 1988: Radio Free Albemuth Jack Bruce 1989: A Question of Time (guest soloist on "Obsession" & "Only Playing Games") Alex Masi 1989: Attack of the Neon Shark (guest soloist on "Cold Sun") Chad Wackerman 1991: Forty Reasons 1993: The View 2012: Dreams Nightmares and Improvisations Level 42 1991: Guaranteed Gorky Park 1996: Stare (guest soloist on "Don't Make Me Stay") Steve Hunt 1997: From Your Heart and Your Soul Steve Tavaglione 1997: Blue Tav Derek Sherinian 2004: Mythology K² 2005: Book of the Dead Corrado Rustici 2006: Deconstruction of a Postmodern Musician (guest soloist on "Tantrum to Blind") Planet X 2007: Quantum

Just saying: NI and iZotope software isn't causing any direct problems, it helps me finish the job. Investment time for me five years, then replace if necessary. This has worked since 2019, with emphasis on second hand purchases and cheap updates, reselling and optimizing things on my mobile gear. 25% usage may be just right. But this is another subject. So again: No reason to be upset. A long term option without the two also exists. IK on the other hand...

Craig’s post form another discussion got me thinking about gear that I had to let go of. This was in early 2019. The only thing left are the Les Paul Studio and the Fender Strat. These are the ones that are absolutely irreplaceable. The rest of the gear was mostly just average, inexpensive stuff. The second half of 2019 and 2020 hit pretty hard and I had to let go of a lot of gear and studio stuff, like my Pro Tools mixing surface (Command 8). I do regret having to sell the Marshall, but there was nothing unique about it. I can buy one just like it if I want to. I miss having a bass, but that’s also a simple fix. The acoustic and the Riviera I could not longer play due to the angle at which they put my right shoulder. The black Epiphone Les Paul had something special about it. It was one of those Epi’s which was somehow way better than it should have been considering its price and pedigree. But it’s not entirely irreplaceable, and the white Les Paul covers my needs. But that SGJ on the floor I’ll forever miss. I’d purchased a SG Standard that spring, with better pickups, locking tuners and all the nice stuff, so when hard time hit and I had to let some things go, I figured it would do. And it does sound 10 times better. But the SGJ was just magic. And it had a 50’s rounded neck, which is quite uncommon as far as I know. For some reason, even though it was very light, unlike most other SG’s I’ve played, it also felt extremely solid - that rounded neck may have had a lot to do with it. It was just the best guitar to sit in front of the tv with and just jam and practice. And it relic’ed just by me looking at it. There’s a couple of Marshall I had to let go earlier in my life that I miss, but that SGJ really takes the top spot. I’d probably buy it back for double what I sold it in a heartbeat (which still wouldn't be that bad because I let it go for peanuts,

I got it for free in 2019. In case you are interested, here are the rest of the free 8Dio instruments: https://8dio.com/collections/free-instruments

Apparently it was 89 euros back in 2019: https://vstbuzz.com/deals/67-off-vikings-bundle-by-keep-forest/ which is kinda surprising it came out only few years earlier? Thus, seems like APD's 89 usd is on par with the lowest price it has ever been (without additional discounts.)

Gary Holt has been heralded as the mastermind behind what many critics and metal fans consider the greatest thrash album of all time, Exodus’ 1985 album, Bonded by Blood. Playing for both Exodus and Slayer (2011 to 2019), his songwriting and guitar playing have established him as thrash metal royalty. Gary's pack includes over 100 tones from his legendary personal gear collection. Every amplifier, cabinet, and microphone chosen by Gary himself. FREE FOR TONEHUB ALL ACCESS MEMBERS If you are a ToneHub All Access subscriber, this release is FREE. Simply visit the Downloads section of the website, and download the latest ToneHub installer. https://www.stltones.com/collections/gary-holt-expansion-packs

At least if CbB crashes nobody gets hurt. I wouldn't want to be a Beta Tester for self driving cars which is basically what Tesla Autopilot Customers are. "The Washington Post analyzed data from the National Highway Traffic Safety Administration and found that Tesla's Autopilot has led to 736 crashes and 17 deaths in the U.S. since 2019.12 "

I'm surprised that I didn't address this a couple of years ago. In my varied career (I'm like @bitflipper in that regard 😊) I've worked for software companies both tiny and huge. Hardware/software integration, bundling deals, etc. were invariably the bailiwick of the marketing department. The marketing people would get together and schmooze, do lunch, hang out at NAMM, and either work out concrete deals, or just do what they could to convince their colleagues that mutual support would be beneficial to both companies. Anyone who's worked in "shrink wrap" (as we used to call it back when software shipped in boxes on CD or DVD ROM's, but it meant "consumer" rather than corporate developed-in-house software) can probably attest to this. Despite the many benefits of BandLab's stewardship of Cakewalk, this is one area that at least up to this point, doesn't seem to have been covered. Please correct me if I'm wrong, but CbB has always relied on the simple fact that it's free to do its marketing (along with the stalwart advocacy of many YouTubers). I recall one appearance by the team at the 2019 NAMM Show, but there was a long gap between NAMM Shows, and these days, fewer and fewer companies even participate. As it transitions to payware, along with the revenues I hope comes greater attention to marketing, in this and other areas. I, and probably anyone else who's worked in development for shrink-wrap, used to roll my eyes whenever a marketing person would approach, because they were known for sometimes having unrealistic ideas about what would be possible and desirable. In retrospect, though, I realize more of what value they actually did bring to the table. They are the "boots on the ground" out there researching what (they think) people want, what new features might be important to add, etc. What they say of course should always be....reviewed, but there's great value in having a dedicated person or staff to do that stuff. Even if the developers are all musicians or whatever, they may not be working in the latest genres, etc. There have recently on this forum been more requests for better controller integration. This may be due to more younger people adopting the software and wanting to use it with pad controllers and the like. I'm an older people and I want to get more into realtime control, don't have a pad controller yet but I will someday. I need to crack my knuckles and spend some time in the woodshed with Ableton Live and Matrix View. I have one control surface, a Korg nanoKONTROL 2, and it's been an absolute pain in the rear to get it working with Cakewalk, despite the fact that one of the developers uses one in his own studio. For any who might question whether "official" support by the hardware company is that important, it would be good to know that both Cakewalk and the other company have your back if you have issues. I don't worry about this with plug-ins, because the companies I spend money with either state CbB compatibility or are reputable and established enough that if anything goes wrong, either the Cakewalk engineers or the plug-in developer will fix it pronto.

I agree 100%. It's a true success story in a world where bean counters usually strip what they can from an acquisition, then throw it in the trash. Hopefully other companies will learn something from BandLab's example. You mentioned Studio One...for what it's worth, the Studio One contingent at PreSonus was pretty freaked out when it appeared Cakewalk was headed to extinction. They appreciated that Sonar was its own thing, distinct from Studio One, and respected the effort and programming that went into the software. And they also really sympathized with the user base, because they're musicians and could only imagine what it would be like to have the rug pulled out from under you (hence the serious discount for Cakewalk users who were looking for an alternative at the time). The music industry is very different from a lot of other industries, where something like MIDI - a global cooperative effort among fierce competitors - could never happen. I think there's more "competition" among the users of the DAWs than the manufacturers, who are more likely than not to be hanging out at NAMM after hours. I'd be willing to bet that most companies wish Sonar well - as long as it's not well enough to put them out of business

Historically, Microsoft has had $9 versions for work-from-home situations (one for Office, one for Project, and one for Visio in for the 2019 versions), but nothing prevents companies from scarfing up tons of them and reselling them. When linked to your Microsoft account, you can even log in as a new user on a computer and use them. The mobile versions are free, and I have always just logged into those apps with my Microsoft account and they work and transfer files without issues.

VST2 should definitely be receiving bank changes - it was one of the first things I fixed when I joined the dev team back in 2019. In order to get a complete patch list, I'd recommend using the Patch Browser in the Inspector, and setting the "List Patches From" to Roland GS:

Homegrown Sounds Kontakt Collection (LTD Edition) for $69.99 https://hgsounds.com/product/kontakt-collection/ All 16 Kontakt products released by Homegrown Sounds up to 2019, a collection of 110 Instruments. There are Synthesizers, Sequencing Systems and MIDI Generators included. Most of the Instruments are advanced, more akin to VST/AU plugins. Add a few more instruments focused on Wavetable synths & Euclidean Rhythms with the Serenity Collection for $19.99 https://hgsounds.com/product/serenity-group-buy/

I think Syntronik Deluxe is the older version (v1). There are new presets for the older synths in Syntronik 2. For example, "99" has 37ish new presets including "afternoon sun pad" and "comet flash" in addition to the presets in 1 ("autumn rain", "chime piano" etc). However, I THINK that the new presets are based on the same oscillators (sound packs) sampled in Syntronik 1 / Deluxe. The new ones use the Sampletank 4 engine (2019), not the older SampleTank 3 (2013).

I suggest you read through this thread. I believe you'll see that the only person being in any way aggressively or disrespectfully here is you in your references to "they" and their undisclosed transgressions. To me, it sounds to me that you're trying to pick a fight over some past transgressions that maybe only you remember. Also, going back to 2019 might indicate you hold a grudge too long.

I wish I could feel that is wasn't either. AsI said, I was protecting myself. See how much trouble one rude person can cause? And no, that 2019 issue wasn't resolved because John never apologized to me like a man would. If he would care to apologize to me for misunderstanding my question that day I could be quite forgiving. I would be glad to give the link as the thread is still there. JB

It doesn't matter to me anymore. I've just decided that I've had enough of Cakewalk. The product is fine but there are just too many people on this forum that I've gotten tired of over the years. Byron Dickens gets away with making trouble on almost every forum he posts on and seems to get away with it. I'm just reacting to mainly his type of hostility. In 2019 I posted a question that a (now) moderator misunderstood and raked me over the coals over it. The product' great and so are the creators but I can't stand this forum anymore. I'll be buying FL Studio.

^^ Also be sure to log into your account when looking at prices to see your member discount. The discount ramps up pretty fast when buying things in sets of 3 (almost to 50%), then the discount tapers off the more you buy (peaks at around 63% if you get everything at once). I posted a graph of that several years ago, but found it in this post from 2019.

I was running CbB on a dual core laptop with 8GB of RAM from more than a decade ago until early 2019. It sucked but it certainly worked. My 8th gen machine now has eaten anything I've thrown at it for breakfast, including massive orchestral templates, literally dozens of guitar and vocal tracks with live effects, mastering chains... you name it. An 11th gen like yours (even an i5) has even more grunt than I have here! I'd say if anything, Sonar should potentially be lighter on resources since it's not loading a heap of bitmaps into memory like CbB is, and I'd say that by the time it becomes a problem in the future, your machine (and definitely mine) would be due for an upgrade anyway.

Nice. I tried the demo of Hyperion and really liked some of the sounds but find the patch editor quite daunting, so a player version would be just right for me. I wonder how much it will cost. I could have bought the full version for $22.50 at JRR shop, so I'd probably only buy the player for about half that price. I read on that discord channel that he already presented it on the NAMM in April, so I think and hope that it won't take too long until it gets released.

https://www.audiodeluxe.com/products/uvi-sweepmachine SweepMachine is a straight-forward yet versatile noise and sweep designer. Those looking for typical sweeps can make them in moments while those favoring deeper sound design will find complex, evolving noise beds and a near endless variety of combinations waiting to be explored through an intuitive and easy-to-use interface. Sound generation is expertly handled by way of 3 oscillators. Noise, sub and metal layers include 9 typical noise types, 24 metallic textures and a sub oscillator each with independent multimode filters and gain control. Oscillators can be used individually or easily layered to create thousands of variations. Create sweeps instantly with freely defined length up to 16 bars. Set ramp shape up, down or up and down. Adjustable curve control lets you change the ramp slope while a fully manual modwheel mode lets you freely play the oscillators with your controllers modwheel. An LFO, flanger, delay and reverb provide even more creative options, expanding possibilities for shape and texture. Equally suited for both typical and avant-garde uses, SweepMachine is a versatile instrument priced to find a home in any sound design toolbox. Size : 62 MB (FLAC lossless encoding, was 100 MB in WAV) Collection : Noise and Sweep Designer Content : 1 instrument, 100 samples, 41 presets Sample Resolution : 44.1 kHz. Recording at 96 kHz. SYSTEM REQUIREMENTS Runs in UVI Workstation version 2.6.15+, and Falcon version 1.4.1+ iLok account (free, dongle not required) Internet connection for the license activation Supported Operating Systems: - Mac OS X 10.14 to macOS 13 (64-bit) - Windows 10 to Windows 11 (64-bit) 1 GB of disk space Hard Drive: 7,200 rpm recommended or Solid State Drive (SSD) 4GB RAM (8 GB+ highly recommended for large UVI Soundbanks) COMPATIBILITY Supported Formats: Audio Unit, AAX, VST, VST3, Standalone Tested and Certified in: Digital Performer 8+, Pro Tools 2019+, Logic Pro X+, Cubase 7+, Nuendo 6+, Ableton Live 8+, Studio One 2+, Garage Band 6+, Maschine 1+, Tracktion 4+, Vienna Ensemble Pro 5+, Reaper 4+, Sonar X3+, MainStage 3, MuLab 5.5+, FL Studio, Bitwig 1+, Reason 9.5+

Not seeing any updates for the ones I own , Inflator & Transmod. Last update for both of these was over 2 years ago (2021/2019).

I've been using Windows 10 1803 on my DAW since 2019, when the 1903 update made everything very unhappy (Pops and clicks on my PCI audio card). I reset my DAW computer using the hidden partition and with the assistance of WinAero Tweaker disabling Windows Update, I've been there ever since. Super stable. No problems. Awesome. Until... I took advantage of an offer I couldn't refuse - upgrading Studio One 3 to the new shiny 6.1 version for a relatively small sum. Brilliant. Guess what: "This installer requires Windows 10 20H2 or later". WTF? Argh! Sad Panda. I wish I'd known this before purchase. Still... it was only a matter of time before my reticence to update became a problem; I feel grateful to have made it to 2023. Because I'm actually in the market for a new DAW computer, I said, screw it, we're going in. I'll update to the latest Windows 10, and if my PCI audio card doesn't make the journey with me, well, maybe I'll change my mind about the form-factor of the new machine and go with a USB interface from now on. Seriously wasn't looking forward to the tedious and possibly multi-stage task of upgrading from 1803 - 1809 - 1903 -> whatever it ended up being called -> 20H1... Bear with me, here. I go to the Windows Media Creation Tool page and it says, "Click here to update to the latest version of Windows 10!" Okay, doing it... What followed was 30 minutes of the most un-stressful update I've ever experienced. All my software appears intact. A quick test of playback seems to indicate that all is well with the audio card, didn't even need to reinstall the drivers, just a quick re-selection of MIDI ports in Cakewalk By Bandlab, which had become un-selected for some reason. So, that's a relief. Of course, it could still go terribly wrong.. but then I'll just have to console myself with a new computer and many hours of installing only the software I actually use. Thanks for listening. Oh... and, yes, WinAero Tweaker has let me disable Windows Update again. Better safe than sorry.

Martin, I've seen others calling Lifetime subscribers as fools, naive or having some general lack of wisdom.....as in what did you expect. I suspect that most assessed the situation as I did. We were paying for regular updates anyway or we were on the current Gibson subscription model. I knew it was a gamble, but no more than buying into any piece of software. For the price at the time, it was a reasonable gamble that the company "could" stay alive, but if it didn't make it and honor, it wasn't a huge monetary loss. The odds were certainly better than betting in Vegas. To your point though about cynicism, I can relate. Burn me once, not to get burned twice. Incidentally, my Gibson LP's are still my best instruments and since new management took over Gibson, the 2019 to present guitars are pretty spectacular.

I fully agree. After all, having to rely on third-party plugins or applications to perform functions that are native to other paid DAWs is something I believe they are working very hard to bring to the new Cakewalk Sonar DAW. I hope that the suggestions for improvements and workflow that have been presented to Cakewalk since 2019 are implemented and not overlooked. Otherwise, we will see a major exodus of users (which I find obvious). When it comes to paying, competition becomes strong and opens up a range of other options. I am eager to see the new Cakewalk Sonar and whether it will be worth the investment in 2023 or if it would be better to switch to another paid DAW.

There's a LOOM II, also on sale at 29.99$. Or you can upgrade from LOOM to LOOM II for 19.99$ I got the upgrade for 10$ back in 2019, and maybe without LOOM beforehand, but for some reason JRR has lost my purchases from 2019 ? I have the emails, but nothing shows up in my account for 2019 (everything else 2017-23 does).