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In addition to Cakewalk/SONAR Platinum, I've got Studio One Pro 4.5, Mixbus/32C 4, MixCraft 8 Pro Studio, Samplitude 3, and Band in a Box 2019. I pretty much use Cakewalk for everything now. Any precision audio editing gets done in either SoundForge or Acoustica (depending on what PC I'm on). Band in a Box gets some use on occasion (maybe once a month), but the others hardly get used at all. Oh, and my Amiga 600 with Music-X 2.0 is still setup in my studio connected to a 5" CRT TV. Does 250 MIDI tracks + 4 tracks of 8 bit / 22Khz audio still count as a DAW ?

https://musicindustryblog.wordpress.com/2019/05/17/niche-is-the-new-mainstream/ If you read between the lines in the above, it is a pitch for a new type of service that would attempt to deliver targeted promotion over social media to replace the old model of mass promotion by the big record companies. So a solution to the nobody-can-find-me-on-SoundCloud problem. The claim is that the new music business will be based on the cultivation of niche markets giving artists with limited appeal the position that the big label superstars used to occupy. Capital intensive dredging of big data on worldwide streaming behavior will enable the service to target specific interest groups tastes to connect them to the artists who are working in that musical canton. Result: artists who would be overlooked will be found and raised to godhood. This will certainly be the inevitable next step, but how much better will it be for most performers than the old system? The first issue to consider is that big data costs big money. If these services are to provide anything more than general mailing lists, they are going to have to find big revenue somewhere. Revenue for small audience artists' promotion is now largely coming from the artists themselves in the form of public relations firms. I doubt that most of the money going into this form of promotion is being returned in increased sales to most of the artists involved. Clearly that is not of great concern to the firms involved if they are just billing for services rendered. I audited an online course about the music business a couple of years ago, and I was struck by the number of students who planned to become social media specialists corralling a stable of artists that they could make a living from. A bright young thing with access to Instragram working out of her bedroom seems an unlikely road to serious financial success. A massively capitalized company using AI to sieve the world community of listeners is a more credible vehicle, but at some point it is going to need to produce real revenue, or the private capital it has duped will drop it. Can such a monster feed on the nickels and quarters that a herd of starving musicians can provide? The second issue follows from the first--it is the inescapable problem of dilution. If the new promotional services provide promotion for enough small scale artists that those unsuccessful performers contributions (in the form of payment for services or some type of percentage of sales) will pay the bills, then there will just too many clients to promote. It is difficult to imagine a niche so small that every artist working in it will be a major star, unless the number of interested listeners is too small to produce significant revenue. In audience sectors where there is real money for the winners, unless the service is selective in who it represents, they will need to flood the social media accounts of those interested listeners with a massive volume of mostly ineffective communication in order to represent all of the artists in that niche who need promotion. This is the reason that services that currently charge artists a small fee for just making their recordings accessible to a large number of listeners or on a large number of sites make enough money to keep going, while most of their clients do not. It is the issue that had to be solved before the major record companies could make money, and their solution was to contract with and promote a very limited number of carefully (although not always successfully) selected artists. Of the two systems it is easy to see which created more millionaire performers. Of course neither the big labels nor the mass distributors have done much for the vast majority of the artists hoping to make it big. So the answer to the revenue problem is going to be how these services select the limited number of artists they will promote. The majors did it largely by "spotting talent" using employees who had a record of being able to find the next big star/band, who were expected to have a critical knowledge of music and musicianship. Later they largely farmed out this cost to agents, whose reputation hinged on being able to screen out the crap, and whose income depended on their clients' success. Either of those methods produced what was basically a curated collection of contracted artists who for the most part could be profitably exploited. Now they seem to be turning towards the natural selection of the internet to swoop in and scoop up the few survivors who rise to the top on YouTube and the like--the signed artist is expected to bring his own audience. This latter strategy is likely to be the method used by the new promoters, although perhaps with computers instead of educated ears. Artificial intelligence is capable of finding trends within the data even when no human being understands the principle behind the trend. But is that so different from the mass-market-mind of the audience that is coughing up the few internet superstars that seem to come out of nowhere? Likely a potential superstar will receive a boost in his rise from the swamp if he has effective targeted promotion, but that does not mean that there will necessarily be more superstars discovered (fewer commercial failures left to struggle), or more money for the lesser stars that this system envisions making its profits from. Will the tiny group of unknown artists who can become big money makers be a better group if they are chosen by a self-learning algorithm? The cost savings to having the search largely computerized and the messaging distribution almost free mean that this type of service will have every chance to prosper. The method of extracting profit from the artist's work will likely look pretty much like the system used by the record companies. At some point between the finding of the next megastar-to-be and the service beginning to send the good news out to his potential adoring fans, he most likely will have to agree to some type of revenue sharing. At that point the new service will have a strong position over the artist. Either he must give them a big piece of the action or take his chances with the fickle audience. In that case he will be much weaker in negotiation than someone who already is a viral star. So although the potential market may be smaller in the niche, the ticket to success may not be any cheaper as a proportion of income for the artist. A promotional service that aggregates hundreds of niche-audience performers may do as well for itself as a record company contracting with several dozen mass-market stars, but this structure will not make most of the artists as wealthy. At best it may make it possible for substantial numbers of the most popular niche artists to quit their day jobs. And of course once this type of service shows its worth to artists, it will engender a hoarde of ineffective, nonselective services that will flood social media with the music-promotion equivalent of p1n!s enlargement advertising, while offering to take cash from gullible artists.

If your Windows 10 system doesn't see the 1903 update here's info how to manually download it... https://www.microsoft.com/en-us/software-download/windows10 from: https://www.forbes.com/sites/brookecrothers/2019/05/25/how-to-install-the-windows-10-may-update-1903-the-manual-option-with-a-warning/#77159ecef809

I just updated to 2019.05 Build 31 and I also lost all templates. I didn't create any custom templates but I liked the ones that were there (4 track, 16 track, etc). Is there a way to get these back?

VSL/ VE PRO 7.0.834 May 23, 2019 VE PRO 7.0.834 • Fixed: Potential hangs/crashes when performing a bounce/mixdown • Fixed: Audio/Event Input plug-in not showing name of unpreserved instances • Fixed: Automation pane only showing up on main screen • Fixed: Mixer strip input plug-in widget not showing after a hide/show of the input section • Fixed: Certain server keyboard commands not working when instance is connected. • Improved: Automatable parameter value text input/output • Fixed macOS: VI Pro Remote App not working properly • Fixed macOS: Substantially improved GUI performance on macOS Mojave • Fixed macOS: A plethora of VST plugins failing scan • Fixed WIN: Installation bug when installing on 32-bit Windows (please don't) • Added VM1 App (macOS): VM1 Helper App 1.41 • Fixed VM1 App (macOS): Ensure correct channel configuration is used when creating channel effects from VM1 App • Fixed VM1 App (macOS): Instance window animation stops working when current instance is selected through VM1 App Get the dl from your account or run & check https://www.vsl.co.at/en

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Hello all, last fall there were issues with Melodyne 4.2 and CbB. at the time, Melodyne claimed they couldn't reproduce the error, and to keep working I reinstalled version 4.1, which has been working. I since finished the project I was working on, and due to health issues I've been off the radar since January. just getting back to things now and wondered if Melodyne 4.3 is working properly these days with the CbB 2019.5, which I just installed... can anyone update me please??? Thank you

If you bought the Adagio Violins check your email for a unique to you coupon before you buy this. Says the coupon expires fast (48 Hours) so don't miss out. Edit: Blog post perhaps explaining the crazy coupon (which may only apply to people that bought Violins as an $8 upgrade from Anthology, like I did) https://8dio.com/2019/05/20/adagio-anthology-owners/

Spitfire Audio enters exploratory sonic universe of KEPLER ORCHESTRA orchestral tools presented in interactive Systems Grid Spitfire Audio is proud to announce availability of KEPLER ORCHESTRA — originally putting German astronomer Johannes Kepler’s discovery of the three laws governing orbital motion into musical motion as an aptly-named odyssey of orchestral sounds, articulations, and playing styles recorded in the crisp, vibrant acoustic of London’s legendary AIR Studios’ Studio 1 and presented in the sound-specialising British music technology company’s interactive Systems Grid articulation mapping tool based on its innovative Evo Grid technology to allow anyone to easily write and create complex polyrhythms a la late-20th Century composers like John Adams, Steve Reich, and Terry Riley, realising ultra-realistic, dynamic polyrhythmic scores with ultimate control while the orchestral tools themselves take care of the hard work. The 18,300 samples-strong KEPLER ORCHESTRA can be purchased and digitally downloaded (37.4 GB) for a time-limited introductory promo price of £199.00 GBP (inc. VAT)/$229.00 USD/€229.00 EUR (inc. VAT) until June 6, 2019 — rising thereafter to an RRP of £249.00 GBP (inc. VAT)/$299.00 USD/€299.00 EUR (inc. VAT) KEPLER ORCHESTRA needs Native Instruments’ KONTAKT PLAYER (5.6.8 or higher) — a free version of the KONTAKT sample playback engine (included in the purchase) — to run as a fully NKS (NATIVE KONTROL STANDARD®) supporting plug-in instrument for Mac (OS X 10.10 or later) or Windows (7, 8, or 10 — latest Service Pack, 32/64-bit), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime. https://www.spitfireaudio.com/shop/a-z/kepler-orchestra/

We are thrilled to announce the release of PSP eFeMerizer Frequency Modulation Engine - an outstanding frequency modulator for Voltage Modular consisting of four operators. Each operator is independently configurable, resulting in unprecedented sound design flexibility. This brings the number of PSP modules available for the Voltage Modular to 33 modules! Until the 3rd of June 2019 you can buy buy PSP eFeMerizer for $29 only! (or in the PSP Poly Modular Collection for $49 or PSP Ultimate Modular Collection for $99 / $3 per module). Starting from June 4, prices will rise to $39, $69 and $149, respectively. To see the PSP eFeMerizer in action watch the 4’ long video tutorial made by Venus Theory or download and run the fully featured 7-day demo version from Cherry Audio download page. To use our modules you don’t need to buy any additional libraries, Voltage Modular will be automatically added to your account. Here

New+ ON SALE FOR ONLY $29.00 UNTIL JUNE 22ND 2019. ($69 REGULAR) The VPRE-562A is a recreation of a rare all-tube amp built around the early 1960s. Originally designed as a PA amplifier but often re-purposed as a bass or guitar head by UK bands from that era, the 562A delivers its signature tone through a Mullard EF86 gain stage, ECC82 phase splitter and two 6L6 push-pull pentodes as well as custom input and output transformers. The plugin kicks serious life into your tracks, adding beautiful vintage vibes from the sixties or even some pleasing old school grit if needed. It rocks as a spice booster for guitar and bass, no matter if used stand-alone or in combination with a full-blown amp simulation. Obviously, many other sources will enjoy its nice presence and warm character, too. With its unconventional EQ the VPRE-562A provides a wide variety of tone shaping flavors, while the Mic/Aux and Pre/PA selectors let you choose which combination of harmonics, presence, negative feedback and transformer-induced effects create the sound you're looking for. Cranking the gain leaves clean behind and adds an extra layer of authentic vintage overdrive. The VPRE-562A surprises with a unique harmonic profile that sounds very much like some of what can otherwise only be achieved with outboard gear. It’s just perfect for adding color without sounding artificial. But, pushing it hard sounds great, too... If you're looking to add some beautiful sixties vibes to your projects, the 562A is a truly premium option. Available in VST, VST3, AAX Native, AudioUnits for Mac OS and Windows in 32 and 64 bits. https://fuseaudiolabs.de/index.html#

Not related to DAW performance as such, but Intel Hyperthreading is now recommended disabled for security reasons. https://www.theregister.co.uk/2019/05/14/intel_hyper_threading_mitigations/

YouTube Video: Omnisphere 2.6.1e & Studio One 4.5 Mod Envelope Timing Issues works fine in Cakewalk by Bandlab, but not in Studio One 4.5 EDIT 23rd May 2019: It only happens when dropout protection is set to "maximum" in Studio One.

Added the LP-64 (from the X2 package) to a bus, and adjusted the input level to ~2 and the output to ~3. Sounds good. Hit CTRL-S and played the track. Seemed quieter. Opened up the plugin: input and output have reset to 0.0. Again set to ~2/~3. Hit CTRL-S with the plugin window open this time, and instantly the levels reset to 0.0. I've been using this plugin for years, and never has this happened. Something to do with the latest 05/2019 release? Anybody have an idea what's happening?

I have the problem with last update 2019.05. One problem was fixed after this - auto detection algorythm, but Melodyne editor can't open another clip if already open any clip. Another clip opens in melodyne editor only if i close editor window. Am I one to have this problem? (Sorry for my english)

SAVE 50% ON THE UNFINISHED OMNISPHERE BUNDLE https://www.timespace.com/products/the-unfinished-omnisphere-bundle Comprised of over 3,700 patches for Spectrasonics Omnisphere aimed at dark cinematic underscore, ambient film scoring and deep electronica, this bundle by The Unfinished brings 14 sets of sonic wizardry together in a single, super value, pack. 50% off $276.00 Ends 21st May 2019 You can find out more about each individual soundset at their individual pages. Please note that Colossus, Colossus II, Colossus III: Deluxe, Ferox and Pangaea Deluxe require Omnisphere 2 to work correctly – all other sounds work in both Omni 1 and 2. Some ‘Deluxe’ soundsets require either Trilian or Bob Moog Tribute libraries to work fully, please check the product pages before purchasing.

As far as I can see, yes. I've had zero problems with Melodyne 4.2.1 & Cakewalk 2019.5.

Can't change project folder or wav file folder anymore If have a song started and I choose "Save as" and check the box "copy all audio with project" and then fill in a project path and audio path, it doesn't work. It keeps the original project path and audio path. I'm using 2019.03 This worked fine in the past, not sure when it changed. Can anyone else verify this and has it been already logged as a bug?

MeldaProduction has announced the 21st round of the Eternal Madness Discount 2019, offering 50% off 4 plugins every week. This deal starts on Monday, May 20th. Deal of the week: MMultiAnalyzer Price: €30 €59 MStereoProcessor Price: €40 €79 MEqualizerLP Price: €50 €99 MTransient Price: €30 €59 Note: If you happen to be new to Melda plugins, you can use someone's referral code for an additional 20% discount off whatever you're buying. Here's my referral code: MELDA1548575 (Feel free to use it, or use a friend's because Melda gives them 10% credit too!) Plus get 10 credits free for signing up to Melda newsletter!** **thanks to @Royal Yaksman for pointing this out!

Wikipedia's ARA page has now been updated to reflect the facts that Cakewalk by BandLab has always had support for ARA 😎 and that it supports ARA2 as of release 2019.05. (Cakewalk and SONAR's representation in Wikipedia seems to have always been rather dire. I've spent hours sorting out some of the most garbled grammar, confused timelines, incorrect punctuation, outright misinformation and unintentional vandalism I've ever seen in relation to a topic on that platform, and there are still no entries for either CbB or BandLab)

Here's a slight variation on maybe how to get the most out of WUP. Let's say I have several plugins that expire in Oct 2019. I have several others that expire in March 2020. If I WUP them all, do they ALL get extended to Match 2021?

I think these are the release notes Larry: Release Notes (2019.05) Features & Enhancements ARA 2 (Audio Random Access) plug-in support. ARA 2 provides tighter, more efficient app integration of next generation ARA plug-ins such as Melodyne 4, including sharing tracks, regions, selection, as well as other project settings Improved editing of ARA 2 regions with a shared view across all plug-in instances Multi-clip slip stretching (hold down CTRL+SHIFT, then drag any selected clip edge to stretch all selected clips, or use the Stretch tool) The global Timing tool has been renamed to Stretch tool The Gain knob in the Inspector controls either audio Input Gain or MIDI Velocity Offset for Instrument tracks, depending on whether the Audio tab or MIDI tab is selected Updated zplane élastique v3.3.0.23501 audio stretching and pitch shifting with bug fixes and performance enhancements The Stretch tool (available by right-clicking the Edit tool in the Control Bar) now works on multiple selected clips, and also supports lasso selection and time selection Bug Fixes Clip Properties Inspector shows incorrect M:B:T clip length (actual length + 1 measure) Step Record continues to record to the original track after you switch focus to another armed track Arpeggiator Rate control fails to update when the parameter is automated MIDI only projects are immediately marked as dirty on file open Accessing menu commands can unnecessarily mark a project as dirty Bounce to Clip(s) results in mono data if a clip envelope is selected; Bounce to Clip(s) is now unavailable if the selection does not contain MIDI or audio data Intermittent crash when opening projects Closing a project immediately after opening can cause a crash Staff view fails to persist on project load Opening lyrics view when transport is playing causes crash Slip editing allows clips to be made zero length Clip waveform sometimes disappears while slip stretching Waveform display in split audio clip appears to adjust crop when slip stretching Slip Stretching MIDI clip causes clip data to disappear Slip Stretching cropped MIDI clip causes clip data to change unexpectedly Undoing slip stretching of audio clips could sometimes not restore the clip to its original state Slip Stretching clip to max, then dragging in opposite direction causes clamp to fail After stretching a clip to the max 400%, releasing the mouse, then attempting to stretch the left edge further causes all stretching to get lost unexpectedly Drag copying an ARA Region FX clip to create a new clip can result in a crash Tracks still visible in Melodyne after deleting or freezing tracks with Region FX clips Melodyne UI doesn't show slip stretching preview while editing until mouse up Canceling from a slip edit or slip stretch doesn't restore ARA regions in Melodyne When slip stretching a Melodyne Region FX clip from the left side, Undo does not restore the Melodyne data to its original location Undoing a copied Melodyne clip leaves blobs visible in Melodyne Cropping a stretched Melodyne clip causes blobs to shift unexpectedly Melodyne does not update when changing clip start time or duration from Clip Inspector Melodyne doesn't show preview while dragging Melodyne Region FX clips Clip loses focus in Melodyne after dragging to a new track Kudos to BandLab - Impressive!!!

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The Pre-order offer is now over & it's been released. There's now an introductory offer through May 16, 2019 Upgrade Offer The upgrade price to Vienna Ensemble Pro 7 is currently €75 (reg. €95) for the first license, and it includes Epic Orchestra 2.0, free of charge. Additional Vienna Ensemble Pro 7 upgrade licenses are offered at €45 (reg. €65) each. When you're logged in, the reduced price is automatically shown as “Your Price” if you’ve already registered Vienna Ensemble Pro 4, 5 or 6. Full Purchase If you’re new to Vienna Ensemble Pro, now is a great time to jump aboard! The introductory price of Vienna Ensemble Pro 7 including Epic Orchestra 2.0 is €145 (reg. €195). To run Vienna Ensemble Pro on more computers, additional licenses are available at €65 (reg. €95) each. You may download and install Vienna Ensemble Pro 6 from MyVSL anytime. ---------------/ Pre-order Vienna Ensemble Pro 7 and download the included Epic Orchestra 2.0 NOW! Epic Orchestra 2.0 Vienna Ensemble Pro 7 now comes with a dramatically improved 73 GB version of the original Epic Orchestra. The new sample collection, powered by the Vienna Synchron Player, includes all the previous instruments and articulations, as well as stunning new highlights from our latest library products. Single Licenses available You can purchase as many single licenses of Vienna Ensemble Pro 7 as you need. Instead of buying a fixed bundle of three licenses, you can buy one, two, three or more licenses, depending on the number of computers you have on your network. Integrated FX Vienna Ensemble Pro 7 now comes with fully integrated mixing and effects tools, based on our Vienna Suite Pro plug-ins! You’ll l ove the overview, quick accessibility and the hundreds of production-ready presets! Many more features! Stay tuned for more information coming soon! Pre-order Vienna Ensemble Pro 7 for €145 and explore our new Epic Orchestra 2.0 now, free of charge! Upgrade prices from previous versions are available. HERE