User 905133

I think there are major differences. Some have a long history of making contributions for the benefit of forum member other than just providing links to products they are selling. Others are vendors with a direct financial interest in making sales that just show up and post links to advertise and provide links for what they sell. I really don't want to mention names, but if you think about who has posted what kind of content in their posts over the years (in the previous forum and in the current forum), I think it should be evident that there are differences.

Looks interesting. Do I understand it correctly? A single LFO set up to output MIDI CC data is being used to do different things with different ranges for different parameters in different plug-ins?

1:03:00 has a single patch change command. 2:01:00 has a bank switch command followed a patch command. Different gear use different bank switching methods. Some, like the one here uses two bytes--an LSB (Least Significant Byte) and an MSB (Most Significant Byte). The patch change at 1:03:00 uses the current bank, so only the patch change is needed. The patch change at 2:01:00 is in a different bank, so the bank has to be switched using a value sent using CC 00 and CC 32. The Bank Switch [aka Bank Select] command needs the following Program Change command to actually switch the patch / preset. Hope this helps. Thanks for asking.

IIRC, the page that says "Connected Products" shows products that came after the ones you own as shown by the first screen shot.

Oh. Maybe I misread what you wrote. I thought you were saying my comment was not appropriate. Thanks for clarifying that.

Doubt it. (The following vitriolic opinion is mine, YMMV) . . . I agree that YMMV. If I weren't a big fan if delays/tape echoes, I would have blown it off and not spent the time trying to make it work. But I have a passion for delays/echoes. Others might have a passion for different pieces of gear. So it depends. I just scratched the surface of the EC300 today and I am glad I stuck with it. For me it has some useful features that I will likely make use of at times as needed. As I was struggling to sort out the issue, I mentally invoked some choice words involving the McD/MacD association, so I appreciate the "McDSP with cheese" comment. Unfortunately, I haven't been able to find a manual for the EC300. However, I have found some informational resources, including: an SOS overview/review article https://www.soundonsound.com/reviews/mcdsp-ec300 a series of McDSP TV video

Thanks for the comments! I figured out what happened. The problem started with an accidental user error on my part. That led to a condition that was not readily apparent. This morning I downloaded the current McDSP Windows Native installer and ran that. When that didn't work (wrong version error warning), I checked and saw that the promo was for v6. So I Revo Uninstalled v7 including looking for left overs via the Advanced search method and then installed v6. (Revo Uninstaller runs the program's uninstaller first and then has 3 levels of searching for left overs. ) It looked like everything with the EC300 v6 installation was successful. Unfortunately I kept getting the activation code request which resulted in green checks in iLok followed by an iLok pop-up that said I had exceeded code redemption limit. It really should have been a wrong version error pop-up!! Finally, I was able to activate the EC300.dll in Voltage Modular using VM's Plug-In Host Module. But, when I again tried the vst3 version, I still got the request for the activation code. After some detective work, I decided that the v7 vst3 was still on my PC . I suspect the v7 version of EC300.vst3 in my VST3 folder (1) may not have been uninstalled and (2) was not replaced by the v6 installation with the older EC300.vst3. It seems that by renaming EC300.vst3 to EC300.BUvst3, I forced the v6 installer to add the older one [v6] to my VST3 folder. Both the dll and vst3 now work in VM with approx. 56 exposed parameters, including UI Scale! ? BTW, I am using iLok Manager, so for me the EC300 is in the cloud and I have concluded that iLok correctly deactivated and then reactivated the plug-in. So I am going with mainly user error on my part because (1) I unknowingly installed the current setup installer and (2) I trusted the v7 uninstallation process as well as the v6 installation process.

I agree it shouldn't be an either/or situation. I have no reason to make a feature request. I can accept a rule that no one should comment on any one else's feature request if that is to be the rule. From what I have seen though, commenting on suggestions made by others happens. Just to be clear, I use both offline and online documentation based on which one would meet my needs at the moment. However, based on what I have read in the forum, I am sure some people prefer one over the other. I disagree that I did anything improper. I did not say it should be one or the other.

NOTE: I have successfully problem-solved the issues described in this post. Since the post stemmed from issues raised by others, it seems relevant to leave it as here in case others have similar issues. WOW. I finally decided to install this after seeing it in my iLok account. I had previously set up a McDSP account and in the process activated it per the instructions. So all I needed to do was install it (or so I thought). Found the installer setup on line which was huge because it had installers for all their plug-ins (7 GB I think for the zip file and the unzipped file, too; took over 5 minutes to download). After unzipping them all, I managed to find the EC300 individual installer in the folder. Since then, it has been a vicious cycle trying to get it to work in Cakewalk and another host. EC300.vst3 is definitely where it should be. Cakewalk scans it. However, it cannot be used unless I activate it. That cannot be done. If it worked like other iLoked activations, I could just deactivate it so it showed 0 of 1 activations and then reactivate it. But evidently that's not how activations work. [ancient image removed to reclaim space] Even though the product is active, hasn't expired, and has no "Activate By Date" restriction, it cannot be activated because it was once activated one time!!! [ancient image removed to reclaim space I wonder: (1) Can I transfer it? (2) If so, can I transfer it to myself? (3) If so, would transferring reset the one activation so I can activate it? (4) If not, (4a) can I transfer it to someone else and (4b) would they be able to activate it? Maybe when they said, "Limited time offer" they meant it was secretly a trial license that expired without having an expiration date? WOW!! UPDATE: I had been trying the vst3 version unsuccessfully in both Cakewalk and Voltage Modular. So I switched gears and tried the dll version in Voltage Modular. McDSP let me activate that. Will try try Cakewalk. If interested in the activation / installation issues mentioned, please see the follow-up post from approx. 5 hours later.

I typed up this reply yesterday with the intention of double checking it. Never got to doing that. ? Thanks for the additional details. On my XP I explored the use of several PC game controllers for MIDI, so I get the idea . IIRC the controllers had utilities and there was also a Windows utility (or maybe there were third-party utilities) that could be used to map the controller parameters that Windows knew to MIDI. (Its coming back to me--Pro Pad hand held game controller, Wingman stick controller, MixMan controller [definitely used a third-party utility with that for MIDI] , and even a Nascar steering wheel and pedals controller--which I thought of using to do "Autobahn.") So, I can see something like: If the gas pedal is down, the wheel, buttons, and level could send certain midi data/control certain parameters or something like that, but if the gas pedal is up, different things could happen. A few years ago with Cakewalk and my nanoKontrol [1], I very successfully used azslow3's AZController for some basic functions, but nothing as complicated as what I imagine you want--basically matrixing MIDI to extend what MIDI usually does. I defer to AZ and if you haven't looked into AZ Controller already, I would encourage you to do so! [I see he chimed in on this since I wrote my reply. I defer to AZ.] Just remembered--I also used a WACOM tablet with some third-party programs to send MIDI data to hardware synths. Hmmmm. I just remembered using an academic-oriented program called ChucK [real time scripting language kind of thing primarily intended for audio] to route MIDI data on-the-fly. Anyhow, I think I better understand. Thanks for the explanation.

Just to add to what others have said: MIDI In[put] used to be where digital data came in from a MIDI Out[put]. MIDI = Musical Instrument Digital Interface - a way that MIDI devices could communicate. To put it simply MIDI sequencers (which later became DAWs) could record and playback MIDI data -- from MIDI hardware via a computer's MIDI In[put] to MIDI hardware via a computer's MIDI Out[put]. That was back in the '80s and it has gotten more complex since then. It has gotten so that many people say "synth" or "instrument" when referring to software / virtual synths (such as VSTs, Plug-ins, etc.). MIDI routing that used to be easy to see because we all used cables is now harder to see because its all inside (hidden, under the hood, in the box, etc.). I don't have/use Kontakt but the others are giving you insights that should help get rid of MIDI feedback. Its sort of like feedback from acoustic instruments going into a mic which is going into an amp which is going back into the mic, etc. Only its MIDI data in a feedback loop inside the box. Hope this helps.

I had no idea that "Vocal Chops" was "a thing." So I googled it. Surprise!!! There seem to be a number of videos on how to Vocal Chop of different length. From the handful of videos I watched, the methods are common to many different DAWs. That being said, from the videos I have seen, vocal chopping relies heavily on sampling techniques and a FX processing. Other DAWs might be bundled with tools that are commonly used with vocal shops. Cakewalk does not come with a sampler, though a number of users have mentioned it as a feature request. You can of course use third party plug-ins in Cakewalk. @reginaldStjohnI wrote the above yesterday and was going to add more. If you google "Vocal Chops" you should see (1) its "a thing" [as in people are doing something they call vocal chop / vocal chopping] and (2) the videos seem to indicate a reasonably well-defined range of tasks / effects that make it identifiable as "a thing." A few minutes watching sections of about 3-4 videos should give you a solid idea.

I learned about 10-15 years ago that there were some settings that will cause crashes if more than one project is open, but I haven't tested it since then. For me I was syncing a sound module with a hardware sequencer (E-Mu Proteus 2500) with SONAR/Cakewalk. Sometimes I had the Proteus as the Clock Source; other times I had Cakewalk as the Clock Source (depending on the project. As I recall, without fail, if I had a project opened with one set of clock settings, then opened a second project with different clock settings, and then switched from one project to another, SONAR/Cakewalk would crash. This might not be relevant, but I solved the problem by having "Allow Only One Project at a Time" ticked to prevent me from making the mistake again. My studio is very different now so I really can't juggle stuff around to see if this would still happen with Cakewalk by Bandlab. ------------------- I do use my own Workspaces and based on my experiences I agree with others that Workspaces could cause some of the inconsistencies. Recently another user brought up an issue with a Floating Synth Rack . . . . [Your reply just came in re: Workspaces.] I will read that and see if what I was about to type up is still relevant. UPDATE: Nope; since you don't use Workspaces, nothing relevant to add that hasn't already been said.

That clarification is direct and to the point! Don't see how anyone could be confused by that! While I recognize these points and others raised, I felt that MSD's previous website presented more as an informational resource. On a number of occasions I have used the price comparisons to help make purchasing decisions. Also, I found the historical prices valuable in helping to decide if a so-called deal was really a deal. In all cases when I decided to make a purchase based on the information, I went the manufacturer directly, or to a different vendor where I would get a perk or could use rewards for the purchase, or one of the several vendor MSD listed as part of their informational service. On the other hand, there are businesses selling products that have never been contributors in any way to the forum other than to announce the products they sell. As a Cakewalk user with no official affiliation, I don't think it is my role to tell a business that they have violated the rules.

I agree that a hierarchical table of contents possibly with indented, collapsible topics and subtopics would be useful. If time is going to be spent making it happen, I would prefer it to be done in a table of contents navigation frame with the online documentation which is far more useful to many than a PDF reference guide.

PS: I just found some genuine previously digitized low-fi recordings. Though clearly not applicable to a purely Mellotron emulation plug-in, a seriously omnipresent effect plagued by many low-fi recordings is the low voltage battery effect. Do any contemporary low-fi tape emulation plug-ins emulate this? BTW, I did find an old digitization of a 3" reel and I agree that Mello-Fi could be used to simulate about 75-85% of that quality maybe more. I was intentionally hyperbolic in saying that even someone with a tin ear could hear the difference. Apologies to those who paid full price and are offended. I was intending to be humorous, not insulting. In fact, I assumed that anyone who uses Cakewalk would be able to tell the difference.

I will agree that Mello-Fi can make audio sound like a 3" reel-to-reel tape deck. Very crayonish tape emulation; not nuanced. As for the Mellotron emulation, the factory samples on IK's Sampletron 2 sound much more "Mellotronish" both with and without IK's additional Tape Effects. As for the orange crayons to apple sauce analogy, a free v. expensive comparison would be appropriate. To be clear, the Mello-Fi factory presets do not make incoming audio sound Mellotronish. As for sounding like Lo-Fi tape recordings, they are more caricatures. When I have a chance and more spare time than I have presently, I will dig out my under $100 7" reel-to-reel, some tapes, including some 3" reels done on an ancient first generation (I think) portable tape recorder (can't get more low fi than that) and assuming the mylar tapes don't squeal and the acetate tapes aren't too brittle, I will make some samples and do a good faith attempt to use Mello-Fi to simulate realistic tape effects. I could be wrong, but I think anyone with even a "tin ear" would be able to tell the difference. As I tend to do, if I am wrong, I will correct myself.

Very true!! I tried IK's Sampletron 2 with some of my own audio and thought it sounded more Mellotron "tapish" (or tape-like) than arturia did. But to its advantage, Mello-Fi works in real time (i.e., on live music as it is being played). ? Sampletron 2's tapes need to dropped & dragged or loaded. So far as I can see there is no audio in to apply the tape FX. ? Also, I remembered as I was shutting down last night, I forgot to mention arturia's "tape stop" FX. That's a plus, but I think the Jr. H.S. hacker got a little help from a first-year college sibling who was home on spring break. ?

I don't remember my reel-to-reel tapes ever sounding as bad as the factory presets in this Tape Distortion. I'd get out my old reel-to-reel and try doing a comparison, but by now all my tapes probably have that nasty tape deterioration / degradation squeal. At least the ones I heard the last time I tried listening to some tapes had the squeal. Now, if these new-fangled imitation tape distortion FX plug-ins simulated varying degrees of that type of squeal, they would be more realistic than the distortion-I-never-had sound the contemporary plug-ins offer. Maybe I should find a blank section of tape, record the squeal, and convert it into an IR. ? A realistic reel-to-reel simulator should have several modes of mylar distortion (varying degrees of stretched tape all of which sound different, varying degrees of crumpled tape--including when it slides under the capstan and gets pulled by the take-up reel but still drags across the playback head, when the slightly stretched and twisted tape flips over for about 0.75 seconds before straightening out, etc.), as well as acetate tape artifacts such as a torn tape that either never got spliced or the splice came apart while playing back with the take-up reel spinning for a few seconds before the auto shut-off kicked in. I can't be the only one that remembers the sounds of real tape artifacts! ? Sorry to be so down about this plug-in. Maybe its just that I'd rather have an FX plug-in--like yet another delay that sounds better than real delay ever did instead of a pretend effect that doesn't sound even half as good as the original artifacts. This sounds like it was done by a junior high school DSP hacker who did a science fair project, not by a professional sound engineer. ? On the other hand, its free! ? PS: I just dug out out the CHOW Tape Model Plug-in. Even though it doesn't have the mylar and acetate artifacts, the CHOW version (also free) has more parameters to tweak to better "tune" the distortion tape to sound more realistic. For example, here's just one set of parameters ("Degrade").

Bonus: resets Virtual Cash reward expiration date to 365 days! ?

Let me explain my comment. Some software synths have sounds (sometimes called "presets") that repeat (loop) when a key on a keyboard is pressed. Many software synths (sometimes called "plugins," "VSTs," "Virtual instruments," etc.) have sounds that can be used for dance music. For example, instead using loops that other have made, you can use the sounds that come with software synths. When I said "some plugin/instrument makers include loops," I meant "some software synths" available from different makers/developers/sellers have looping sounds you could use. I hope this clarifies my comment. Cakewalk's Virtual Keyboard Controller - no other devices needed!!!

I tried this in a number ways, including the number of FX (e.g., 3 plug-ins) in a track FX bin and the moment I press and hold ALT. Unless I am doing it wrong, I am finding that the method replaces the entire FX bin with a new choice. I tried this with both Audio tracks and Instrument tracks with the same results.

I thought we could do this depending on the capabilities of our hardware and software. Or are you wanting for Cakewalk to be able to override the capabilities of the hardware and software users have? EDIT: I think I figured out what you mean. Do you want (a) different things to happen (b) to a single parameter (c) based on different combinations of knob, slider, button, etc. states?

Thank you for this post!