Starship Krupa

I think what went wrong was that I hadn't actually enabled MIDI out from it.

I have both of those, and have messed about with MRhythmizer in my quest. It probably can do it, I just haven't been able to figure out how. Much as I love MRhythmizer, I'm completely dependent on presets, because despite having it for years, and really wanting to incorporate stops and glitches in my own work, I remain innocent of any clue how to either create a new preset or even alter an existing one with clear intent. I've tried reading MeldaProduction's "documentation." I've tried watching video tutorials. I also have Stutter Edit 2, as well as a number of other plug-ins that can do tape stops. No luck so far with any of them. I can get them to do what they do, which is simulate the sound of a tape deck stopping and restarting, but it's nowhere near the effect I want to create. There's possibly something in the timing of it I'm not getting, and maybe some extra pitch manipulation. Been banging my head against it off and on for years. Figured I'd throw it out to the hive mind. Thanks for replying.

I'm not sure I learned anything from that, but I love her collection of knicknacks. NERV coffee mug, original iMac, multiple hardware oscilloscopes, retro CRT monitors....

Seeing as this forum is mostly about Sonar, a Windows-only program, you probably won't get many replies in the affirmative here. Maybe Vi Control or some other forum? I don't know why people think Apple is any better than MS about updates and data gathering. One of my big issues with Apple products is that they are forced into obsolescence when the underlying hardware is still capable of doing the job. Microsoft goes to a lot of effort to make sure that legacy programs and drivers aren't broken by OS updates. Apple, not so much. They have a financial incentive for users to bin their old hardware and buy new, and unfortunately, they may take advantage of their position as the sole legal supplier of the OS and the hardware it runs on. They can decide not to allow the OS on computers of a certain age and then you're just out of luck. Later versions of the OS can be forced on to earlier hardware that has been deprecated by Apple, but it's much more difficult than, say, tricking Windows 11 to install on a Windows 10 system that is supposedly incapable of running it. As for data gathering, if anyone thinks that Apple is somehow "better" than Microsoft in regard to data privacy....I don't know why anyone would think that. All that said, I think Macs are great and that their new CPU's are a genuine step forward. I wish I could afford one!

Here's an example of what I'm trying to do, it's fast and smooth and fits the rhythm. I have multiple POWERFUL FX that do tape and vinyl stops and spin-ups, but this effect eludes me. No matter which one I use, it doesn't sound right rhythmically and I there's also something happening that isn't found in my standard tape stoppers:

Dang, you must have some serious chops to be able to record acapella with no instrumental reference and keep it in key and in tune. The issue I can see with recording your vocal first and then going from there is that unless you are really spot on with your rhythmic timing, it will likely be very difficult to overdub any instruments. So if there's a way that you can use a metronome and not lose the feel that's obviously very important to you, do that and you'll be fine with everything else. Of course you don't have to (as drummers say) "bury" the click, you can wander a bit, but you should land on the upbeat or downbeat as much as possible. I think that with your chops, you would eventually be able to do this even if it doesn't feel right at first. As long as you keep the time, you will be able to use the same metronome click to make the instrumental tracks match. The way it's usually done is to start with an instrument playing to a click, and your instrument is your voice. I don't see any other reason that it wouldn't work. If you trust your chops enough to even be considering it, go for it. At the worst you'll learn what doesn't work. While it's true that the first vocal take is usually a guide that gets replaced, you're not doing it the usual way. I've observed many first takes that had a magic that the player or singer just couldn't top no matter how many times they tried. Have one myself. I recorded a scratch guitar solo just off the top of my head and tried half a dozen times to better it with a solo that was more worked out ahead of time and none of my subsequent tries got anywhere close to the magic of that first take. I was looking at it like the first pancake off the griddle, there's no way it can be the best one. But it bypassed my intellect, came more directly from that mystical source of creativity in my mind. And that's bottled lightning. I suffer from "red light syndrome," which is when I can easily play a part when practicing or rehearsing, but when I hit Record, I suddenly become stiff and clumsy. Engineers who record others know about this phenomenon, so if you're in a studio and the engineer tells you to just run through a take so that they can "set levels," 9 times out of 10 they'll have the gear in record mode. I suspect that almost every recording musician has wound up using a "set levels" take in the finished product. We just sing and play better when there's no "pressure," even when we're recording into a computer whose hard drive can hold days of audio and takes are free. I'd love to hear what you come up with.

I was a big fan of ELO at the time and an avid reader of the music press and I don't remember any such incident. Not saying none of it's true, but someone did a good job of keeping it out of the press. The Who were well known around that time for using tapes to augment their performances when playing material that had used parts that they couldn't perform live, mostly on the Quadrophenia tour, but also for stuff like Townshend's keyboard ostinatos. "Baba O'Riley" and (a few years later) "Eminence Front." I'd be surprised if ELO didn't have taped parts to reproduce the arrangements of some of their songs. Like you're going to play "Eldorado" and not have that famous spoken word "high on a hill, in Eldorado-dorado-dorado...." intro? The string section itself, I still haven't figured out how it was possible to get Gale and Kaminski and McDowell amplified and also able to hear themselves at arena rock stage volume. I know there was a company called Barcus-Berry involved in making pickups for them, but the rest is a mystery. Regarding that article, the idea of a 70's Detroit rock promoter being a crusader for authenticity (or for anything other than making money from what they were doing) stretches credibility way past the breaking point. As long as the kids paid their money and were entertained, I find it nearly impossible to believe a promoter would care about anything else. Why pull such a stunt and run the risk of concert attendees asking for their money back? Who would it serve? Rather more likely was that someone on the local crew noticed that they were testing the backing tracks during sound check and talked about it. Maybe they thought it was big news and contacted someone in the press, or someone in ELO's entourage pissed them off. They were managed by Donn Arden, the Great Satan of 70's British rock 'n' roll, making that more likely. I remember Peter Grant, Zeppelin's manager, having a go at one of Bill Graham's employees around that time at a concert at Oakland Coliseum. Talk about When *****holes Collide. This kind of thing was well-covered, the press always loves a controversy. So I'm gonna roll and cast Filter of Skepticism.

Indeed, Ace and Peter are having a great time, being young silly guys (maybe a bit hooched up), how can you take KISS so seriously? Gene seems to think it's still 1974 and they are "controversial" and wants to put out a stoic dangerous badass persona. The same one that Totie Fields called him out on when they were both on the Mike Douglas Show....

Fixed, within 5 minutes of posting this. A mystery as to how, but sometimes asking about a mysterious issue will result in the issue resolving itself. Sometimes very quickly. Whether I overlooked something or what, it works now, and that's what's important.

I'm trying to experiment with some realtime pitch-to-MIDI and decided to try it using MeldaProduction's MTuner. The way it's supposed to work is that you put MTuner in the FX rack of the audio track, enable MIDI out, then on the synth track you want to control, you set its MIDI input to be MTuner. That's the way it works for plug-ins that output MIDI. For some reason, when I try this, MTuner isn't appearing in the list of possible MIDI sources. I've made sure that MIDI output for the plug-in is enabled both in the plug-in and in Sonar's plug-in menu. This is very odd, because I've even contributed to topics about this in the past. It was most definitely working for me at one point. Unfortunately, the screen caps that the person who posted the recipe used have been deleted. Has anyone gotten this to work lately? What am I missing?

Oh noooooo.... I was recently trying to list the musicians who have influenced my own music and David Ball is in the top 5 at least. My favorite Soft Cell song, radio edit. The immortal lyric: "And the girl underneath doesn't care who you are And you're nearly there and she still doesn't care And her chewing gum is getting stuck in your hair" Never fails to bring a laugh. The synth bass line is ferocious in note selection, tone, and execution.

Windows 11 Pro license from bulk reseller. I bought a Windows 10 Pro license from a similar places and it worked fine. Just Google "Windows 11 Pro license." Even though they seem impossibly low priced at $6 they are legit. I've never heard of anyone running into a problem with these resellers. I think what they are doing is buying in bulk at system integrator prices and then flipping them. Similar to what a local computer shop that does system builds pays. Which lets you know how marked up the consumer licenses are.

Yes. Synths and FX with stochastic elements as well as others.

What I often do is screen grab using Windows' own Win+Shift+S utility then paste directly into a post in order to save time and eliminate needing to open a raster editor, saving an image, then uploading it. I think the forum converts such images to .PNG's for storage, so it could be that my practice of doing that is using up my quota sooner than if I went with .JPG's. So when the time comes that I just don't have enough room to post images of attach minidumps or whatever, I'll ask the powers that be to increase my allotment. If they won't, we start saying goodbye to illustrations that went with my topics and replies over the years.

It depends on how much extra the people building your system charge for it and whether you want/require the extra control over the OS that you get with Pro. Some people like being able to postpone system updates indefinitely, others (like me) like to completely and permanently disable realtime file scanning for malware for the entire system. Home only allows you to exclude individual folders, not the entire system. It also only allows you to postpone updates temporarily. Since licenses for Pro may be found much cheaper by the consumer than what you'd usually pay for them through whoever's building the system, I'd probably go with Home then upgrade it once the system was in my possession. Because I'm someone who wants the extra control. If the difference between versions is more than about $15, I'd start with Home and upgrade it myself.