Starship Krupa

I've never bought any PreSonus item new, and they've all allowed me to register them and harvest the software titles. Maybe most people don't bother with registering. I recently bought a set of Eris 4.5 monitors and guessed the sale date at 2012 and registered them and the software titles showed up in my PreSonus account. No Studio One Artist license, but some nice plug-ins. Anyway, it's worth checking if you buy PreSonus hardware used. There might even be an unclaimed Studio One Artist license attached to it. And Studio One Artist, after they enabled 3rd-party plug-in support a couple of versions ago, is a POWERFUL piece of software. They do check the serial numbers of your gear and only supply versions that match its age, so for instance when I registered my Studio 2|4 I was given a license for Studio One Artist 4 even though the current version of S1 was 5. Cost $50 to update it. Total outlay for Studio 2|4 interface plus Studio One Artist 6.5: $80. Smart policy on PreSonus' part: honoring that Studio One Artist license ultimately got them another $50 straight to the bank account in addition to whatever they got for selling the interface new.

I swear on a stack of MeldaProduction referral credits that before I read the caption, I thought "Ha ha, Ed's making some joke about Kontakt..." ?‍♂️

This showed up in a cluttered Microsoft Edge newsfeed thing that I accidentally opened.

I wasn't aware of the io24. Built-in DSP, still retains the traditional PreSonus MIDI jacks? Phone app control of the mixer? Very nice. Not too long ago I paid $49 to get a Studio One Artist 6 license and was/am happy with the purchase. This tosses one in for free.

Maybe a modifier key to mute all clips in the lane if you hold alt while clicking the mute button. It might be better than not having it at all, but there are times when I wouldn't want it to do that, unless it un-muted any that weren't muted before I muted the lane. Simpler to just be able to hide everything that's muted, whether it be at clip level or lane level.

There's another topic where I am recounting my adventures beta testing AIR plug-ins. Basically, if you are of the mind to try them, and you do so on a system where your installations of the VST2 versions of Hybrid 3, Vacuum Pro, and XPAnd!2 are working, after you run the beta installer, you'll lose your factory presets. Back up your Program Files(86)\AIR Music Technology folders before you start and it will be fine. I've reported the installer bugs to AIR but have heard nothing back from them, as is customary with AIR in all matters. At least so far, the only thing that has changed about the plug-ins is the addition of VST3 and Apple Silicon versions. On my systems, the VST3 versions work perfectly, so I suspect they will be made available to currently licensed users at no cost.

In light of the impending release of the VST3 and Apple Silicon versions of this soft synth, here are some new sounds. https://www.beatstars.com/mikebeatz/sound-kits/buy-hitmaker-xpand-2-preset-bank-40844

Sometimes qualities that pi55 us off in someone else are ones that we also share and I'll fully cop to that in the case of Mr. A.? If they put "basically okay guy with a mouth that got him into trouble" in my obituary I'd be fine with it. I'm sure that if someone called him on the no-no in what he called Bob Mould, he would have been mortified. BTW, Bob's retort when asked about it was....entertaining. The fact that you praise him elevates him even more in my esteem. I already thought he was A Force For Good In The World.

The contracts said that for every point a producer gets, the band loses a point, I guess. Yeah, it's cool that he didn't change his artist-friendly policy just because of Nirvana's status. ENGINEER. ?? Perhaps so. Likely so. Would have loved to have met the guy to find out for myself. The letter you posted contains the statement "Remixing is for talentless p---ies who don't know how to tune a drum or point a microphone." That's the kind of blowhard crap that I didn't care for coming out of his pen. "Recording engineer" and "mixing engineer" are, at least IMO, related skills that don't necessarily have to be present in the same person for that person's contribution to have value. Hidden in there is the assumption that if an engineer doesn't know how to tune drums, they are a "talentless p---y" (and what's up with the use of a gender-loaded term to characterize someone with no talent? That was already being called out in 1992, especially in the punk world). You and I both know how many drummers can't even tune a drum properly. It's really hard to do. I do get that the guy was WAY into irony, and if anyone is guilty of assuming that everyone will "get" that he's being ironic, it's me. It's one of the reasons I had to stop drinking: it exacerbated that tendency of mine to assume that everyone is on my wavelength and gets that I'm being ironic. And then as a result hurt their feelings and offend them. I'm still stung by being accused of homophobia on Facebook by a former amp repair client, who when I asked him what kind of music he played, said "punk rock," to which I replied in an exaggerated "jock" voice "punk rock is for posers and f-gs!" After which I told him that my band had opened for MDC at 924 Gilman St., which is the pinnacle of my punk cred. I thought I was being flagrantly OBVIOUS that I was making fun of that attitude (which at that point wasn't even being espoused by jocks, hence the comedy-I also have nothing against athletes, BTW). And as for the "homophobic" part of the "witty" retort, when I told a friend I had been accused of being a homophobe, he said that if anything, I was the opposite of a homophobe. Writing all this out makes it blatantly obvious that I had no business assuming that someone I'd met 5 minutes earlier would get my meaning. All this was 25 years after I quit drinking, so you see I have it BAD. And I suspect that it may have been so with Albini, who expressed similar regrets long after being in bands that contained the words "r4pe" and of course infamously, the n-word. It's also a characteristic of our generation that we straddled time periods where using terms like that in order to disparage them was first okay and then not okay. And I agree about the not-okayness of using them around anyone but the very few people who are guaranteed to get where I'm coming from. Albini once called Bob Mould "a cow with a guitar." Was he aware of just how offensive it was to use that term to insult a heavily built gay man? I also know that Mr. I'm A True Engineer Because I Can Tune A Drum's most famous band used a drum machine instead of a human drummer. So for all I know, he was assuming that the writer of "Polly Wants a Cracker" would be able to get whatever irony may have been present. But damn, even *I* can't tell if he was kidding about the drum tuning thing. As I said, I would have loved to have been able to meet the guy and talk about this stuff, and I can count the number of famous people I would aspire to meet (other than to thank them) on one hand. And I am feeling sadder that I will never get that chance. RIP Steve Albini, unless of course, you think that resting in peace is for posers and...um, anyone else you look unfavorably upon.?

I have plenty of respect for the man and his work, but I've surely disagreed with him on any number of things. "Heart-Shaped Box" and "All Apologies" (mixed by Scott Litt) were my favorite songs from In Utero. I enjoyed with them and connected with them better than any of the other songs on the record. Sorry Steve. Having a good ear for rhetoric doesn't grant you a good ear for pop music. There was a certain amount of elitism woven into his anti-elitism stance. I knew how we'd probably get on if we ever encountered each other. I tend to be kinda ?to people I think are full of themselves and his quotes kinda struck me that way. Peter, I would love to be disabused of that notion. I used to have a bit of fun trolling the Albini-weenies back in the day, the ones who just worshiped the ground he walked on and couldn't get enough of the gospel according to Steve. You could tell who they were because you'd refer to him having produced some record or other and they'd get this kinda hurt/angry look and remind you loudly that he was an ENGINEER, not a PRODUCER. Ooh, yeah, let's fight about it.?I guess I was an iconoclastclast. I also agreed with him on a lot of things that really fundamentally count to me in the end, and my first thoughts upon hearing of his passing were disappointment that he wasn't going to be around to comment/contribute anymore. The world seems lesser somehow, knowing that he's no longer out there. I wanted him to still be along on my generation's journey. (Generation Jones, that is. 1955 to 1965. Too young for Boomer, too early for X. Brady Bunch, not Leave it to Beaver, and not Eight is Enough, either.?)

Interesting, a sampler inside a sampler. I snagged a serial, but Native Access keeps telling me the download failed.

This would seem to indicate that port speed does matter, which makes me wonder why interface manufacturers have been so slow to adopt USB 3. I can't remember the last time I saw a PC with no USB 3 ports. A dozen years or more, and I am a run-the-wheels-off type of computer user. USB 3 has so much over USB 2 in regard to audio use. Other than the speed, it can also do full-duplex like Firewire. So incoming data (recording) and outgoing data (playback and monitoring) don't have to wait for each other. I've always wondered if that could have an effect on jitter (and therefore sound quality). Have PreSonus said anything about why they took this seemingly backward step? My only guess is lack of Thunderbolt ports on older Windows computers, especially ones with AMD processors, which were blocked from using it until 2019. I'd love to have a Thunderbolt Quantum, but the only computer in the house that could talk to it would be my Dell laptop.

What a great deal! I love T-Racks stuff.

You forgot: 1 to mention that with REAPER, you can set up a track to emit light. Another to mention that while the UI isn't for everyone, MeldaProduction's MBulb allows you to modulate the light output in an infinite number of ways.

I was afraid that Brian was going to go into a decline after Melinda passed. I'm not too worried, the story said that Carnie and Wendy asked for the stipulation that they be consulted on any issues that may arise and it was granted. Considering their childhood, they've always seemed pretty levelheaded for Hollywood kids. Their mom was from a wonderful, loving home. I'm glad that he has people around to step in. Shoot, when my time comes, they ain't gonna be nobody around. No siblings, children, nothing. I'm the end of my line. I'm hoping that we'll be well along the way to the floating brain in a jar thing by then.

Currently we have the option to hide notes in muted clips in the Piano Roll View. I would like to also have the option to also hide notes in muted lanes in the PRV. Same use case for having the muted clips hidden, just extending that courtesy for when I have an entire TAKE I want to mute, which I do with the Mute button in the lane header. I seem to repeatedly follow this path: Record a few MIDI takes Notice that the performance I want to focus on is in a particular one Mute the other takes Open the PRV for some note nudgin' and.... Wonder why there are multiple notes stacked upon each other Flip back to Track View, mute all clips in already muted lanes Is there any reason not to have the option (option option OPTION) to hide the notes in muted take lanes? I mean other than "no way, bakers shuld use their code hours to write a chord track not protect lamerz, git gud or go home."

70 or so.

There are no such things as "USB-A chips." There are USB-A, USB-B, and USB-C connectors. There are USB 1, USB 2, USB 3 and USB 4 protocols. I know it's confusing as hell. I was baffled by the whole thing until I bought a nice Dell laptop that had a full Thunderbolt port on it and sat down and read all the Wikipedia articles and crap. The way to remember USB specs is letters are for connectors and numbers are for protocols. The US-A connector is still the most common USB socket/plug, it's the wide flat one. They're plentiful on the front and rear of tower computers and on the sides of laptops. USB-A cables usually have a USB-B, C, or one of Apple's proprietary ones like lightning on the other end. USB-B has common variants like the Micro, which used to be the most common for Android devices (might still be). The full-size USB B connector is most commonly used for large stationary peripherals like printers and scanners. It's usually only used on the peripheral side, with the other end of the cable being USB A. USB-C is the small symmetrical oval one. A USB-C cable can have either a USB-A or USB-C on the other end. Now for the protocols. USB 1 was the first and slowest. I don't know of any audio interfaces that used it, but I wasn't doing digital audio work during that time. I think when it was around, it was more common for audio interfaces to use Firewire. There may have been some MIDI-only USB 1 devices. USB 2 cranked the speed up to the point where it could handle data fast enough for low-latency audio. USB 2's speed and ease of use kinda killed Firewire. USB 3 made it even faster. I have not heard of any audio interfaces that use USB 3, maybe because USB 2 was fast enough. USB 3 also introduced SuperSpeed, which is indicated by a blue plastic "tongue" in the USB A jacks. Okay, here's where things get confusing. USB 2 can travel via USB A, B, or C connectors. I have a PreSonus Studio 2|4 interface that is USB 2, and has a USB C jack. USB 3 can travel via USB A or C connectors. The only USB 3 peripherals that I've ever seen are external drives. The fast data transfer is good for that. If anyone knows of a USB 3 audio interface, I'd like to hear about it. You can plug a USB 2 device into a USB 3 port and it will automatically fall back to USB 2 speeds. With me so far? Now we have Thunderbolt, which I think is where a lot of the current confusion comes from. Thunderbolt is a specification for a type of port. Both physically and electrically. Physically, it uses a USB C connector. Thunderbolt has gone through versions 1,2, and 3, but the first 2 were used chiefly in Apple products. We're only concerned with Thunderbolt 3, which is where we are now, and it was developed by Intel and released as royalty-free in 2019, at which point other manufacturers like AMD jumped on it. If your system has a full Thunderbolt 3 port, which my laptop does, it will be a USB C jack marked with a lightning bolt ⚡. If it has that lightning bolt symbol, it means that you can connect Thunderbolt devices, USB 2 and 3 devices, PCIe devices, and video displays. If it's on a laptop, you can also charge the laptop using the Thunderbolt port. (Not all Thunderbolt ports supply video, it depends on whether the computer supplies it. I think Apple systems and Windows laptops are more likely to supply a video signal via Thunderbolt) So for instance, at my house, when I want to plug the Studio 2|4 into the laptop, I use a USB C-to-USB C cable and plug it into the Thunderbolt⚡ port and the smarts in the port know to connect via USB 2. (I can also connect a port extender that has an HDMI jack, audio jacks, and USB A ports carrying USB 3. Right now, the laptop is charging through its Thunderbolt ⚡ port.) When I want to use the Studio 2|4 on my main tower computer, I use a USB C-to-USB A cable and plug it into either a USB 3 port or a USB 2 port. Doesn't make any difference. It will only run at USB 2 speed because the Studio 2|4 is a USB 2 peripheral. There is not yet a production USB protocol that will only work over a USB C connection. USB 4 has been released, and it will be USB C-only AND encompass everything that Thunderbolt 3 now has. Many current systems feature USB4 ports, but according to someone whom I trust to be in the know, there are no audio USB4 audio interfaces. I hope this helps.

Ah, I guess I should have included the actual sample I was trying to work with rather than the "mix." Mostly LCV did a good enough job putting in the markers, once I told it how many beats were actually in the sample. I can't even repro the horrid result. Here it is in MP3 form: FGclipped (1).mp3

It's actually 2 tracks mixed down. The dialog sample was left intact. The thing that's making the jackhammer sound was once a 4-bar intro from an old Fleetwood Mac song. It was supposed to have no processing on it except for a pitch shift. "I get better results by (using a tool other than Loop Construction view)" is certainly a recurring theme in these comments.

I find this a very interesting development. I thought Thunderbolt interfaces were the future, due to performance. I wonder what's behind this shift. I think it's true that there are still many desktop/tower computers that have no Thunderbolt port (yet even my 2017 Dell notebook has a full Thunderbolt port), but there are precious few that don't have USB 3 ports. Does the difference between USB 2 and USB 3 really not make a difference from a latency standpoint? I'm still a Firewire guy, was planning on leapfrogging USB2 and going straight to Thunderbolt when the time came.

One of the voices of my generation, to be sure. His famous article for Maximum Rock 'n' Roll was a game-changer and is still required reading for anyone hoping to have a career as a recording artist. He wrote it in the immediate wake of Green Day getting signed while the major labels were hoovering up pop punk bands.

You don't have Baby Audio's? Collect 'em all.

It kinda does, doesn't it? It doesn't show up in any automation lane, nor can I adjust it at the left edge of the clip. Unless the smile means you're kidding, you'll be pleased to know that there are a number of plug-ins that can do that. MeldaProduction's MBassador is the first one that comes to mind. bx_subsynth is another. Unfiltered Audio's G8 is a gate that can put out a MIDI note when it triggers, and I've long thought about using it in that way, to augment an acoustic kick or snare with a hit from a softsynth. Even the magazineware G8CM can do it.

So I guess when I ask about using a Sonar feature and the replies are all about 3rd-party plug-ins and programs that do the job much better, it's safe to say that said feature is of little utility.? Well, that's good to know too. There's at least one good trick that it can do, which is continuously loop the clip while the user adjusts the pitch and length. It seems to me that at this point it could be repurposed more as an editor for a phrase sampler. Add a "reverse" button to it etc. Can anybody tell me what the spurious line across the clip is? You can see it in the image I posted.