Starship Krupa

I agree that entertainment industry awards seem to be silly opportunities for self-promotion and phony virtue signaling. The Motion Picture Academy lost me the year that Kramer vs. Kramer won over Apocalypse Now and All That Jazz. 1980 I believe. 1980 did a pretty good job of warning me what the next decade was going to be like. The Grammys have always seemed hopelessly out of touch to me. 1966: The New Vaudeville Band, a studio-only project, won Best Contemporary (R&R) Recording for the novelty song "Winchester Cathedral," which was a pastiche of English Music Hall music. Maybe there were some rock 'n' roll singles that came out in 1966 that would have been better choices. Have they ever lived down handing the Best Metal Album award to Jethro Tull? I've never paid much attention to them anyway. The artists I really like tend not to be Grammy material, and even if they were, who cares about the tastes of a bunch of record industry people? The Rock And Roll Hall Of Fame seems to be below even those standards. The main criterion for inclusion is probably "who will make the greatest number of people likely to visit (and deflect accusations of racism and sexism)?"

Yes. I'll reiterate: there is no way to create a custom theme for the new Sonar. You can't even change any of the meaningful colors. All you can do is choose from half a dozen color themes that the devs have come up with. If you'd like this to be another way, please post in the Feedback forum.

I'm 64 and my vision isn't getting any better. While I like the look of NuSonar, I agree that there are visibility issues. Unfortunately, there is no theming available to end users. We can't even choose any meaningful colors. All we can do is go to the color settings and choose one of the factory color schemes, all of which use varying shades of grey for everything but buttons and some text. They seem to be designed more for overall appearance than visibility. The only cause I can think of is that Ben must have the contrast on his monitors cranked way up. That's not an option for me, I also use my workstation for photo and video editing, and if I set my monitors so that NuSonar has better visibility, the colors in photos and videos is messed up. The most recent release has improved on the contrast in grid lines, but it's still nowhere as good as when I could choose actual colors rather than varying shades of grey. In CbB I used red for the measure lines and green or blue for the beat lines, depending on which of my themes I was using. It looked great and really helped with visibility. As someone who spent weeks on each of my half a dozen custom CbB themes, I'm very disappointed in the lack of customizable options in NuSonar's UI. If you don't like this situation, please post in the Feedback forum. I've been lobbying for at least allowing users to change the colors of the grid lines. I'd also like to be able to set text colors in various locations. The only color theme that currently uses anything but white on black is Mercury Classic.

I don't think the Rock and Roll Hall of Fame is much of anything more than a tourist attraction. Still, I don't quite understand her stance here. It seems like with her induction, their board or whatever is now finally recognizing the unsung session players. So why would she not show up for the ceremony? Seems like it would be an opportunity for her to say something at the podium like "it's great to see the Hall acknowledging the contributions of the many great session players. I hope that they continue to honor the many other deserving musicians." Words to that effect. I'd think it would be more constructive than a no-show protest.

You're using Yellow Submarine? Cool! I haven't gotten much feedback on my themes except from fellow themesters. But since they appreciate the craftsmanship that goes into extensive theme creation more than actually using them (not surprising, they have their own ultra-tweaked themes), it's different from hearing from someone who actually uses it. Especially one of the ones that was based on an animated movie (I did another one based on Neon Genesis: Evangelion). How did the 70's happen? Same reason Yellow Submarine did. The Beatles took LSD, and they were so influential that whatever they came up with afterward was going to wind up being the world's "theme." And since they broke up at the beginning of the 70's, we were stuck with what they were up to at the height of psychedelic garishness. The designers of furniture and fashion had to extrapolate from there. I'm being silly here, but not entirely. My Yellow Submarine theme is based on animated movie about The Beatles that came out in 1969, but you read it as a "70's" theme. The Beatles were the "theme creators" of the time when they existed. We were stuck with modifying the last themes they did for about 10 years. I remember Isaac Asimov writing in the 70's "I have long hair today because 10 years ago, 4 kids from Liverpool felt that going to the barber was a drag." As for who took responsibility, nobody. "Responsibility" was not a popular concept in the "Me" decade.😆

I didn't take it as an insult at all. I really do want to know what you think may be about to happen. Multiple of your hunches about how things would play out have turned out to be prescient. More so than some of my own that I was pretty sure about. Notably the absence of The Licensing Model That Must Not Be Named. I'm glad that one of my hunches, that BandLab would not hang people out to dry in regard to a free licensed Cakewalk/Sonar, turned out to be accurate. I really didn't want to have to answer to the people I've hooked up with CbB over the years.

All hail the mighty T-RackS 670! Getting a freebie for that one was a watershed point in my development. It's the one that helped me finally "get" the awesomeness of M/S processing.

Care to elaborate? I'm glad my life doesn't depend on figuring out what BandLab have "planned" at any given point. They seem to be full of surprises. BTW, I tried an experiment where I logged Sonar out of BandLab and then logged back in using an account that doesn't have access to the premium tier, and the old style Track Manager is present in Free Tier Sonar. Which actually makes its UI more similar to CbB's than Premium Tier Sonar's is.

I've been using Sonar since it came out, and switching back and forth between it and CbB requires no adjustment that I can perceive except that some of the text and icons in important areas have shrunk and contrast also suffers in comparison to what you can do in CbB with themes and custom color sets.. Cakewalk have been pretty good about that kind of thing in recent years. It isn't some huge change like the SONAR X, it's not much different from using a custom CbB theme. I've noticed over the past 7 years with Cakewalk that new features that they have added don't usually replace something else, they augment what's already there and are easily hidden. The lone exception I can think of is the recent replacement of Track Manager with the one that docks in the Browser. This new Track Manager replaces the old one, and I guess Free Tier Sonar has neither of them. As far as reduced functionality between Free Tier Sonar and CbB, they've explicitly listed what the differences are. I went over them in my post. They seem trivial to me. I suspect that the CbB validation server will be shut down in the near future, then installations of CbB will switch to permanent demo mode after the last validation times out. Sad to see that, because I have half a dozen themes that I put a lot of work into that are tailored to easy visibility, and as I said, Sonar is less friendly to people with impaired eyesight. Its failure to allow the user to even set grid line colors causes problems for me. I don't understand at all why users can't be allowed to make our own color choices. This feature was in CbB, it's in most other DAW's and it's easy to revert if a user messes up their colors.

As was Cakewalk by BandLab. When I wrote the Wikipedia entry about Cakewalk by BandLab years ago, I put in a descrption of the licensing and said that it was a "free subscription." Since it's in Wikipedia, it's the Official Truth of the Internetz.🙄 I agree that if it needs to phone home to a server every 6 months or every month or whatever interval to keep functioning, that's a subscription. In the case of free tier Sonar, the "cost" of the subscription is embedded advertisements for the BandLab membership. Fair play, CbB was always an advertisement for the BandLab brand. Subscriptions require the user to trust the software manufacturer not to change the rules, go out of business, whatever. Fortunately, BandLab have so far continued to provide a free way for Cakewalk/Sonar users to access our projects. This has never been interrupted in the 7 years of BandLab's ownership of the Cakewalk/Sonar brand, although there was the scare of the announcement of payware Sonar replacing CbB. The differences between Free Tier and Premium seem trivial to me. If your plug-ins have a case of the grainies, get new plug-ins or render at 88.2K or 96K. I did some subjective tests using a virtual synth that benefited audibly from plug-in upsampling, and rendering at the double rate had the same effect as 2X upsampling. As far as which dithering or stretching algorithm I use, should I care enough to do a shootout? Multiple Arranger tracks is nice, but I've never used more than one per project.

It did for you? I tried it and the T-RackS 6 version said that it was unregistered. Seems that further investigation is called for.... (edit) ....further investigation was called for and yielded desirable results: to get the TRackS 6 version to work I had to click on the "Buy" button in the plug-in UI and let it take me to IK's website. Then upon refreshing IK Product Manager, it worked.

Dennis, the most troubled, out of control one was friends with him for a time and traded said psycho some cash and a motorcycle for the bare bones of one song. It was an album track. Not a hit. Stephen Desper, the house engineer, says that the only time he ever saw Chucky rattled by anyone was one evening at the studio when Chucky, in his usual way, was tossing around insinuations and said something to the effect that if they screwed him over, it would be "terrible to see anything happen to anyone as a result," followed by the trademark psycho leer. Carl, the sweetest brother, the peacemaker, the one with the angelic voice who sang lead on "God Only Knows," got right in his face and said words to the effect of "if you ever lay a finger on anyone in my family I will end you." According to Desper, it shut Chucky up and wiped the leer off his face, not an easy task. Whatever else, the guy wasn't stupid about who was or wasn't buying his con, and he probably realized in that moment that Carl was not impressed and that he had been patient with him up to a point, which had been reached. The Wilson brothers were all-American types who played sports in high school and had survived an abusive parent. Chucky was a bully who was built like Gollum and talked other people into doing his fighting for him. He fooled Dennis for a while. Dennis never had the best judgement, eventually drowning across the street from my childhood home while drunk, at age 39. I learned later in life that Dennis and I docked our sailboats (mine was 8' long, his was about 40'😄) very close to each other.

I'm tempted to drop the price of a medium pizza on this upgrade, but alpha mastering compressor is one of those plug-ins that I've never seemed to be able to fit into my rotation. Did the alpha mix compressor that came with v.1 also get upgraded? I wonder if mpressor will be getting this treatment soon.

There's an odd fact about mid-60's Brian Wilson/Beach Boys: "Caroline, No" was released as a Brian Wilson solo single a couple of months before Pet Sounds came out and included the track. None of the other BB's appears on it, not even on vocals. It's all Brian and session players. As with so many things Beach Boy, just about everyone involved (or not involved as the case may be) has a different story about whose idea it was to do this and what the motives were. Steve Douglas, who had been a session reed man on BB's records before he became an executive at Capitol, claims that it was he who pushed it the hardest. Was Brian considering going solo? Was his buddy Steve Douglas trying to rescue him from the dysfunction he observed within the Beach Boys? If the song had done better than #32 on the Billboard chart, would he have done so? Would Pet Sounds have been his last album as an official Beach Boy? I'm a fan of the Beach Boys and the Beatles, and I've never understood why they get compared to each other. They're two different animals. The Beatles were the first pop act to make fans care much about who played or wrote what on any given song. Bob Dylan followed close behind. Was it that the Beach Boys were one of the few American acts that seemed to be able to hold their own against the British Invasion? Brian and the BB's stuck closer to the earlier tradition as soon as they could afford to hire session players. Brian was the only one in the band whose musical talent got any attention. I don't think there was any attempt to "hide it," they just didn't think that people cared about such matters. I think they were blindsided by the rise of the more serious rock press. They finally got on board the "authenticity" train, but late in the game. Maybe too late to be taken seriously by the fans of the day. Maybe Pet Sounds and Rubber Soul could be considered on a par? Brian is said to have been knocked out by Rubber Soul, the idea that an album could be its own work of art rather than a collection of a couple of singles and the rest filler. But by the time of Revolver, the race (to the extent that there was one) was over. Whatever, I think it's pointless to compare the acts. The Beach Boys were closer to The Association, The Mamas and the Papas, and other vocal groups where some of the members happened to be competent enough at one instrument or the other to get to play on the records.

Not sure what this is supposed to mean in this context, that Brian's songs hold up outside the Beach Boys context? Or not? To address the matter of writing/playing all of their songs, well, it ain't as if The Beatles played everything on their own songs. "Within You, Without You" and "Eleanor Rigby" being examples. Paul of course sang "Rigby," but does he or any other Beatle play a note of the music? George may have played some sitar on "Love You To" and "Within You," but there are no other Beatles on it. I consider "The Beach Boys" to be a brand under which various people have created music over the decades. Starting with Brian, then later other people. I think that post Pet Sounds, the "producer" of individual songs was different for each of them. There was also a changing collective of individuals that was referred to by that name, and the people in the Beach Boys collective would vote on what songs to include on an album. Then whoever wrote the song it or brought it in took charge of it. Usually using other band members on vocals and a combination of band members and session players on other instruments. Brian might make it into the studio to offer assistance with arrangement and studio trickery. Depending on his mental state. Live, they were a cover band of their own songs. You can't exactly call Brian the "creator" of "Feel Flows," to name one. That was Carl's baby, and the backing vocalists aren't even official Beach Boys. Marilyn (and maybe her sister Diane) is prominent. Brian may have played the piano, and he claimed to have played organ and added some production tricks, but it's a Carl song. Post Sgt. Pepper, The Beatles also functioned this way, although the lineup never changed. The core musicians were always there, but they did use Billy Preston and Eric Clapton for some prominent parts. Brian, under the Beach Boys moniker, was a great creator/producer of songs. He created them in collaboration with some of the century's other great talents, like his brothers and cousin and classmate on vocals, and various session players and lyricists. Beach Boys songs are hard to cover well because so many of the production and engineering details are integral to them. Like the above cover of "'Til I Die." The first thing that popped out at me was that the bass line was run of the mill compared to what Brian did on the released version. I'm a bass player and I've tried to work out the exact rhythm and notes of the bass part of "'Til I Die" and been frustrated every time. It goes against so much of what is considered "rock bass" that it's as if it's in a language that I don't speak. It's not physically hard to play, it's mentally hard to play. Where your bass player instincts tell you to play this or that note, there's no note, and when the next note comes, it's a note you wouldn't expect on a beat you wouldn't expect. Other songs stack melodies and countermelodies 3 deep. He could communicate stuff like that to other geniuses like Carol Kaye, but I have to listen to it phrase by phrase and even then....it's no wonder that McCartney practically idolized him. So it's hard to "cover" a Beach Boys song because first you have to round up a vocal group as good as Carl, Dennis, Mike, Al, and Bruce, then you "cover" the production techniques, and by the time you do all that, what's the point? You can incorporate his style into your own songs, as Carl did on Surf's Up and Sean O'Hagan did on Hawaii, but it's rare. It's not impossible; John Legend did a cracking "Sail On Sailor" on a Brian TV tribute that I wish I could find on YouTube or Dailymotion. And they did what I say: get a hot vocal group, and copy as many of the production and arrangement details as you are able (the guitarist even nailed Carl's guitar fills). The original "Sail On Sailor" had Beach Boys footnote Blondie Chaplin on lead vocals....