Starship Krupa

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.

I'm interested to hear the OP's reply. The only effect that I can think of wanting to print would be compression, and that would only be when using a recording medium with much less range than 44.1KHz allows me.

Curious, why do you want to print FX while recording? You can monitor them while recording, then bounce the recorded track and the FX will be baked in just as if you had printed them while recording.

I presume that they have compilers that can generate object code for both platforms, seems like a good opportunity to use one.😄 The project caused me to wonder if the ARM64 push provided a good excuse to finally do some overdue retooling of Windows' audio infrastructure in general. Because if I were Pete Brown, I would have jumped all over that. No matter how quickly ARM64 is adopted/embraced by manufacturers and users, x64 is still going to be the overwhelmingly dominant architecture for a while. And it isn't like Windows isn't long overdue for an audio driver that improves on WASAPI for generic class compliant devices. WASAPI was a great advancement, but it's getting long in the tooth.

It would be nice if the powers that be could ease up on this restriction, I suspect that the cost of resources for the back end has dropped. The issue I run into is that as the forum goes on, I have screen shots and so forth in posts where I presented a solution for someone, and it seems like a shame to have to delete illustrations rather than keep them useful for the many people who hit Google looking for solutions to their Cakewalk issues. The forum has been around for half a dozen years now.

This question has already been answered, from the hardware standpoint. Yes. From a software standpoint, if RME supply a driver that's compatible with the OS, then yes. And don't confuse "supported" with "compatible." Focusrite's support for the driver and control panel software that goes with my Saffire Pro 40 was ended years ago, but it still works just fine. It depends on what all you want to do with the computer. If you wish to do anything that involves video editing or scoring, a dedicated GPU will make things much smoother. Even a lower end card would suffice, so you don't need to spend a fortune. Just something with at least 8GB of GDDR. If it's strictly audio, then the integrated GPU should be fine. And if you decide to start doing video or gaming with the system, you can add a dedicated GPU later.

For anyone who is a fan of Unfiltered Audio or Glitchmachines style creative sound design/warping. It's a wonderful tool for that, built to A|A|S' usual high standard of quality.

For precise pinpointing of frequencies, that same MeldaProduction FreeFX bundle also includes MEqualizer and MAnalyzer, both of which have spectrum analyzers that can display the exact frequencies of whatever frequency peaks are in the source material. MEqualizer also allows you to solo whatever band you're currently adjusting to further help pinpoint where the issues are. Big fan of the FreeFX bundle here, I consider it an essential package of audio plug-ins (processors and tools) and you can't beat the cost.

That's great. It's also good to list which driver mode you're using. ASIO, WASAPI Exclusive/Shared, WDM, whatever. ASIO is where you want to be, some people who are having issues switch it to one of the other modes to try to fix it and then forget to switch it back.

If anyone wants to try disabling core parking, Bitsum have a free utility that lets you do it without manually hacking your registry: https://bitsum.com/parkcontrol/ Here's an article that goes into greater detail about what core parking is and why one might wish to disable it or leave it alone. Basically it says if your computer is plugged in, you can turn it off and see what happens with no concern. If it's on battery, you'll run your battery down faster without core parking. That's the tradeoff. https://geartakes.com/disable-core-parking-audio/

Oh, I misunderstood what you meant by "r' click." It seems that you meant "right click." Try what Colin suggests and then what I suggested should start working correctly.

People should be careful when using Google to find system optimization guides. This article, like many others of its kind, repeats at least one piece of myth and folklore that has persisted on the subject despite having been debunked. It's outdated and appears to be incomplete. I didn't read the whole thing, but I got as far as it telling the user to set Processor Scheduling to favor background programs. That myth dates back about 30 years and such people as the Cakewalk developers and Pete Brown of Microsoft have stated that it's not true that doing so will improve audio performance, and will even possibly degrade DAW performance. DAW's are (wait for it) Programs, and setting the OS to favor background processes over programs is misguided. It also suggests disabling core parking via a registry hack. I don't know if this is still or was ever a valid blanket suggestion, but they don't mention the havoc that can be wrought by people using RegEdit. Anyone who wants to optimize their Windows system for audio production would do better to go to the source, Pete Brown, who is the go-to guy at Microsoft for all things Windows audio. This is the first part of his 3 part guide: https://devblogs.microsoft.com/windows-music-dev/unofficial-windows-10-audio-workstation-build-and-tweak-guide-part-1/ There are also multiple topics on this forum that have information provided by people who specifically use Sonar. Check in Tutorials or Computer Systems.