Starship Krupa

They're having updates as often as they have sales.

I would like to recommend to anyone who hasn't upgraded their FreeFX Bundle that they snap this up. Especially if you can do it in conjunction with the other first-timer discounts. If it's your first purchase with Meldaproduction, there are 2 ways to get extra savings: while you're setting up your account, sign up for their newsletter, which gets you 10 euros to spend any way you like. When you make your purchase, use my referral code, MELDA1923165, which will knock another 10% off the order (I'll also get credits for 10% of your order). These discounts also apply to any other first order from them. Since the FreeFX Bundle upgrade is now going for 20 euro, this scheme would make your eventual cost 9 euro, or $10.73. There are 37 plug-ins in the bundle. If you have the FreeFX Bundle, the upgrade lets you use the plug-ins' preset manager (and download community presets), scale the UI, use upsampling, and access the multiparameters and custom modulators screens for plug-ins that have them. The plug-ins in the bundle that I use often, and which I believe to be at the top of their class at any price, include MTuner, MEQualizer, MCompressor, MStereoscope, MLoudnessanalyzer, and MMetronome. If the tuner by itself cost 9 euros it would be a must have. It's polyphonic and has a pitch-to-MIDI convertor. I also use MOscillator and MNoisegenerator when I need such utilities for testing. Many of the rest also see occasional use.

One addition to this: set the mix control of the reverb plug-in to 100% wet.

Even if you're not as into dark drone sounds as I, there is a joy to be had in uniting the flagship products from the plug-in company with the mellowest marketing pitch in the industry and the company with the most disturbing one. I don't know what it says about me that Serenity was one of the first instruments I tried Dumpster Fire on. Or even that I have both of them to try this with. The crickets and the birds were helpful. I did turn them on for the initial experiment. If I could still make them out, it let me know that I hadn't taken it completely off the rails with Dumpster Fire. I also found out some more things about Dumpster Fire: it may have some sort of threshold detection or something, I had things kind of manageable with the animals chirping away, but when I hit the rainstorm button, they got lost in this huge wall of sound. As I pointed out in my initial review of Serenity (in the Freeware Instruments thread), it's possible to do a sonic presentation of the biblical Great Deluge using its sound FX from left to right. Those humongous thick pads in Serenity actually work pretty well as fodder for filter-y and glitchy FX that impart their own rhythms. It's like rolling out a big blob of delicious cookie dough and then using cookie cutters on it. Rhythmic subtractive synthesis.

Excellent. Thanks for the share. I practice "harm reduction." One of my more effective strategies is "not owning a full Kontakt license." Freeware is my non-alcoholic beer. (Anyone else keep a few $5-10 trinkets in their PB wishlist in order to be able to jump on the monthly freebies?) My self-justification for the past year for grabbing every shiny object with a big price reduction is that it's been impossible to watch a movie in a theater or go out to eat at a restaurant, so I figure I'm spending my restaurant meals and movies on sound crafting tools. (not helpful I know)

Well, I, um, know this guy who is a CbB user, and he used his Cakewalk login to acquire Rapture Session, then he downloaded and installed the SONAR trial and noticed that the SONAR trial came with all these "Factory Pro" instruments that would work with the version of Rapture Session that came with Home Studio. So he carefully studied the file structure for Rapture's instruments folder and copied them all over and it worked! He tells me that you have to be one steely-eyed Cakewalk man to pull it off, though, it has to be done just right, and he messed it up a couple of times before nailing it. But yes, if you have a valid Cakewalk Inc. login, install your product with Command Center and it will work great.

I posted another topic about a favorite new sound design toy, Freakshow Industries' Dumpster Fire. They would no doubt be delighted to know that it has already inspired me to commit horrible acts. Only 3 days into the trial period. The one I wish to confess is that I put it on lovely, mellow, sweet Quiet Music Serenity (which I like enough to pay for the SE version that just came out). Yes, I took an instrument (accurately) described as "built on 10 different layers of sound to create a perfect relaxing environment, 4 layers of pad sounds and textures created with the Deepmind analog synthesizer, and 6 layers of high-quality sound from various field recordings we made" and used an effect (accurately) described as "THE SHIFTING NIGHTMARE" on it. Although I feel as if I have committed a grave sin, it actually sounds amazing. Dark drone for days.

Love mixing (and listening) on cans. In my teen years, I listened with phones out of necessity, the parental units didn't want to hear my music blasting away. I got way into The Moody Blues and the deep sonic landscapes they created in the studio. I still like "headphone music," David Tipper and Chris Zippel are a couple of fave sound sculptors. These days, I tend to have a delayed sleep phase, where I sleep from about 3AM to 11AM If I want to mix past 10PM, and that's usually when I feel most creative, it's all about the headphones. I just leveled up on the ATH front, going from M40's to M50's after a side-by-side test. Most reviews say that the M40's sound very close to the M50's, with subtle but audible differences in tonal balance. In my opinion, nuh-uh, no way, not even close. I put on a Chris Zippel mix that had water sounds in the background that were vivid with the 50's,but with the 40's, I could only barely identify them and that after I heard them on the 50's. Soundstage was way better, with the 40's it sounds like the soundstage extends about 2" away from my ears, with the 50's it's more like 6" or beyond. The first time I tried them on a project I've been working on for months, I heard this weird sound buildup between the kick and snare that I eventually controlled by gating the tail of the kick resonance. Never noticed it before. So I like how revealing cans can be. I also like my Superlux 681 EVO's. The tonal balance is similar enough to the M50's that it's not jarring to switch between them. I prefer to finalize things, especially mastering, on the speakers, but I check and reference on a variety of listening systems, including the car and my Altec Lansing Mini Life Jacket.

To answer your question, no I don't think it should. I understand what you were trying to do, but in order for it to "work," the track would have to be identical in timbre and also 180 deg. out of phase. The closest thing to what you are trying to do with that, which is have the snare track cancel the snare sound out of your hat track, is to use a gate in inverse mode on the hi hat track with a sidechain coming from the snare so that each snare hit triggers the gate to close. You can fiddle with the gating amount and attack and release to get this to sound as natural as possible. Now that I've answered your question, I'll offer other suggestions to help get you going. My first question is: how important is that hi hat track? In my experience there's plenty of hi hat in the overheads, perhaps it's that way with your intrepid recordists. I'm not a pro, but for perspective, I'm pretty happy with 4 mics on my drum kit. OH's in my adaptation of a Recorderman/Johns config, kick batter at an angle slightly below and aimed at the impact point, snare batter up and off the rim enough not to hit it with a stick, pointed at the center of the head . (This is not entirely out of laziness; I have enough good mics and 16 inputs between the two 'pods. When I started out, I tried mic'ing the snare reso and the kick reso and the resulting tracks were superfluous. Sometimes with a tom-heavy song I'll point a couple of dynamics at the mounted tom toms to get that stereo roll effect, but not often. I was actually uncomfortable at first because this was the first configuration that I tried and it sounded great. But I thought "that was too easy, I must be missing something, I'll learn more about it eventually." Nope. 7 years later I'm still doing the same thing. Every so often I try a snare reso mic and end up not using the track. I finally just had to go with "if it sounds good, it is good." I have friends who come to my dining room to track drums, so I guess it's okay.) Boz' Gatey Watey or another frequency-exclusive gating option would be another choice, or something really surgical like Unfiltered Audio's G8. Or simply automate them out, with gain and/or EQ. Since I got Gatey Watey, it's been on every mix, keeping hat out of snare and snare out of kick. Unlike Bruno, I don't like bleed in my close-mic'd snare or kick tracks. I tried leaving it in, but I got phasing and imaging issues, and it made it harder to control how much of whatever I was getting. It becomes a snare/hat track, not a snare track, where I can't give it more snare without giving it more (already adequate in the OH's) hat.

Witness all the DAW's that were poised to eat Pro Tools' lunch once they left it out on the counter. ? I have to hand it to the software companies that have managed to hang on to their industry leader status for decades. Who, after all, speaks today of WordStar, WordPerfect, VisiCalc, Lotus 1-2-3, dBASE? I know you remember them. Most of those names were at one time market leaders to the point where their names were synonymous with the function of the software.

It shows up as 64-bit, I wouldn't have recommended it otherwise. I'm really diligent about sticking to 64-bit. Do you think that the developer is using some kind of wrapper to make a 32-bit plug-in look like it's 64-bit? As I recall, at one point it didn't like being hit with the 64-bit precision engine AND upsampling, maybe that's why. I think they've issued an update since then.

Yes, I scored Home Studio and Rapture, and I think it may have been thanks to your topic. I also pulled the trick of downloading a demo of SONAR and thereby scoring the Rapture Pro Factory Library (and most importantly at the time, a copy of the PDF manual. There are also some "free to registered users" loop and sample libraries, and I got the extra DX effects before they started including them in CbB. I really rifled things once I realized there were still goodies to be had. I don't think you can get CA-2A, during the promo period you'd get your serial via email from signing up (I think that's how it worked, either that or they would put it in your account). But it's like the LP EQ's, if you don't have a serial, it's no go.

That's hot. "BringerOfPain was killed by Gandhi" freaked a few people out. I suspect that 30-somethings like I was at the time were a higher percentage of Internet players at first, because we could play from work via T1's and nailed-up ISDN and whatnot. There wasn't broadband at home for kids to use. We were a bunch of underground BBS denizens (I worked with and was friends with some of the founders of DEFCON) and would pitilessly mock schoolyard bravado wherever we found it. It was a strategy: rile someone, get 'em typing and then frag 'em into little pieces. Sigh. Good times indeed.

I have been getting inspiration and having lots and lots of fun with Audiomodern Filterstep, to the point where I give an extra recommendation, if you're into EDM or really any other electronic music, go and get this. It's a step-sequenced filter, a simple yet versatile one with a real slick looking GUI. I mentioned Funimator in my last post, and while this is also a step sequenced filter, the UI and quality of the filters in Filterstep, as well as the versatility and randomization put it way ahead. The only issue, and a minor one it is, is that it doesn't start working in a given session until you open the GUI. Odd, I may write the developers about it. It's the same in Mixcraft. Once you do that once, it works fine, but just be aware: if you have it on a track and have just reopened the project, you need to pop open the GUI to prime its pump.

In order to know, they'd have to have some mechanism(s) where each installed copy carried a unique identifier that would allow them to keep track of whether the downloaded and installed copy is continuing to be used and was ever updated. Hmm. Oh wait, they do. At its most crude, all BandLab need do is take note of how many updates and re-validations they get to find out how many people have continued using it past a certain time. If it phones home with every program launch like (I think) Native Instruments and Waves products, they have even better data.

I have done both in the Windows 10 era, and I would say that it depends on how much you like your current Windows 10 installation. Anything prior to Windows 10 I would have said to go ahead with the clean install, but Windows 10 seems to handle being cloned pretty well. Also it doesn't cruft up over time as badly as earlier Windowses. Of course for content creation people like us, we have so much software where registration is system-dependent, which for me tilts the scales toward "clone." It is a non-trivial task to go through and deauthorize/reauthorize every plug-in and program, and since I don't stick to certain ecosystems, some of mine are Waves, some iLok't, with licenses being either on the hard drive (Plug-In Alliance) or USB dongles (when possible). Some places have no discernible deauthorization process, or it must be done via their website. How to remember which and how many I have to do? I always forget a few. Others, like A|A|S, W.A. Production and Meldaproduction, don't have any deauthorization process, but if you register them to "too many" systems, they will refuse and require you to contact them and plead your case for further authorizations. I have something like 600 plug-ins because I'm an amateur and a geek who loves to try things out.

Hey, on Saturday I bought a GTX 550 Ti to replace the Quadro FX! On Craig's List! Paid $20! ?‍♂️ Well, the most taxing things I do on the system are Cakewalk and Vegas Pro (and other video editors), so I figured that for $20 the extra CUDA cores and DDR5 memory would help perk things up. Gamers are not sucking hind teat when it comes to being served in the GPU market. That honor goes to those of us who use our computers for higher end 2-D graphics apps. I haven't FPS gamed since Quake Arena, last night I tried out SVET (a Myst-like post-apocalypse walkaround) and it ran great, but it's half a dozen years old and doesn't have a lot of changing imagery. BTW, @craigb, when Quake first dropped, before Internet game servers were a thing I used to have what are now known as LAN parties after work (which is now known as "still being at work") in my lab at Macromedia (pre-Adobe). My boss wouldn't let us put a server on the company LAN, so I cobbled the setup together out of castoffs. I ran the server in headless mode on a 386 Toshiba Satellite I found in a box somewhere in. Then y'all started up the online servers and because we had a T1 and work and I only had ISDN at home, I'd crawl home from work at 11:30 with bloodshot eyes from playing capture the flag Quake for 5 straight hours. "N2O's Gas House" rings a bell, as does "N2O." Pertinent to the thread, my Quake handle was "Gandhi," (later "JonBenet Jovi"). I still have my Logitech Gaming mouse, the one shaped like an animal foot. You and members of your clan probably slaughtered me a time or two. Do you remember that West Coast clan that had Hello-Kitty-esque avatars? Those guys were ferociously effective. I especially miss playing Quake capture the flag (or "capture the Scrag," in one server mod) Due to the dearth of information regarding 2-D performance specs, mostly I've gathered is that more and faster memory is good, and more CUDA cores will make rendering and encoding go faster. All the graphics card information out there is SO game-centric it drives me batty. If you ask somewhere like here or the equivalent NLE forum, you'll be told "just about any nVidia or even your onboard Intel will be more than enough." On nVidia's site, all they will say is to get a Quadro. Sure, I totally would love to buy your driver-crippled DisplayPort-only gaming card for 5X the price of the equivalent non-Quadro. It just ain't true. I ran with the onboard Intel after I determined that Mixcraft and my AMD 5770 were not playing nicely with each other and if I played a full-screen movie, closed it, then switched back to Cakewalk, I'd briefly see white boxes in Console View. I stopped getting that once the FX 580 arrived. The only time Mr. Dell Optiplex seems to suffer is when I have a video preview running alongside Vegas, Cakewalk, or Mixcraft's tracks views. I can't run it at larger sizes without getting stutters in the playback, so I'm hoping that the GTX will either help or at least not hurt with that. $20 worth, anyway. As y'all say, anything newer than that is insanely expensive for a used computer part.

I have to put in a word of thanks to @Jesse Jost (and anyone else responsible) for creating these new discussion areas. A great addition to an already great forum. Looking forward to reading and contributing!

A pair of 23" 1920x1280 flat LCD's. Not a matched pair, just two of them. Track View/Browser/Inspector go on the left hand one and Console/Piano Roll/Misc. on the right hand one. Sometimes when I want to get an especially wide view of the Track Pane I'll drag it across the width of both monitors. If I'm switching back and forth between tasks with the computer, like right now when I'm taking time to check the forum and write, I'll park the paused task on the right monitor.

Thanks, I fixed my post to include "MIDI."

More than "slightly off topic," it's off forum. ? This forum is dedicated to Cakewalk, a DAW that runs exclusively on Windows. I suggest you will get better answers if you ask on a forum dedicated to Reason, and/or the hardware in question, both of which are more likely to have people using it on Mac/OSX. Good luck, I hope you get it sorted.

The first thing to do is make sure that you plug the controller into the same USB port each time you use it. If that doesn't help, then unplug the controller and use Windows Device Manager to delete all existing entries for the Keystation. Then plug it back in and let Windows recognize it. After doing that, make sure to use the same USB port each time.

The confounding thing about this thread is that people keep posting "can someone please answer this" when it was answered in the second post and subsequently elaborated on. Given the lack of information supplied by people posting the question, it's been answered to the best of anyone's ability. Here's a recap: If you're using SI-Drums (and many other virtual instruments, especially drum machine plug-ins), you can't record MIDI data by playing the pads with your mouse, they are only there to preview the sounds. The way to record MIDI for these instruments in real time is that you must use a MIDI controller, either a physical MIDI keyboard or the Cakewalk Virtual Controller. Alternately, you may manually enter the notes you want via the Piano Roll or Step Sequencer. That's really all there is to say about it. If you don't know how to do steps 2 or 3, it's not in the scope of this thread to teach you how. You can post questions in Q&A and/or watch tutorial videos, or even read about it in the Reference Guide. RTFM/WTFV.

Maybe by now you've seen the YouTube ad for Drip, which is a plug-in effect that from what I could discern, you're supposed to indiscriminately throw on all audio sources in order to make them sound perfect just by clicking on one of the obtusely named buttons. The results sound easily accomplished with various combinations of delay, EQ, and phasing. I mention this because I think it's in sharp contrast to something I tried out this evening. I decided to give some plug-ins a try whose "demo" videos I'd watched, videos that contained no identifiable audio demonstrating them, just a lot of images from old educational films and cheap graphics, kinda reminded me of stuff I'd go see at underground video festivals in the 80's. Kinda put me off a bit at first, not that I mind that aesthetic at all, but if you want me to buy an audio effect, I want to have some idea of what it does before I throw down my money. Curiosity finally got the better of me and I went to their site and discovered that their stuff is available with a 2 week timed demo, so I wouldn't have to pay upfront to find out how they actually sounded. I first tried the one that seemed the most obscure (and therefore intriguing), called Dumpster Fire. It fulfills a similar "need" to Drip, you put it on a track after you've run out of inspiration. In the case of Dumpster Fire, though, I think the idea is that you want to destroy whatever track(s) you've been working on. There's no way to describe exactly what it does, but if you like Glitchmachines' stuff (to say I "like" their stuff would be a sad understatement) or Unfiltered Audio's Sandman, Fault, SpecOps, and BYOME, you'll find yourself in friendly, familiar, yet unsettling territory. GM and UA's stuff is incredibly versatile, has zillions of knobs and virtual patch cables, lets you ruin audio in just about any way you want. As much as I love their stuff, I find myself using the randomizers a lot at this point because, well, to be honest, I may never fully understand all the controls. Dumpster Fire, on the other hand has 5 knobs, none of which are labeled with text until you click on a small icon of the old CBS "eye" logo, and even then the labels include "generates hellscapes" and "scales the Aether pitch spread." You know, for when you're thinking that your snare could use some Aether pitch spread to make it sit in the mix. What I'm getting at is that Dumpster Fire is like a Glitchmachines or Unfiltered Audio effect with only 5 knobs but more immediate gratification. There are no presets, you throw this thing on and start turning knobs. If you share the same diseased sense of humor and delight in audio torquing as I, you will be grinning like a fool (specifically, me) once you hear what this thing does. I chose the Van Halen-y "80's Metal - A" backing track that comes with Cakewalk. Just a few degrees of knob turning made it sound like a dixieland band being buried in lava. On my own material, it sounded great (meaning giggly insane) on the drum bus. There is no LFO, so once you dial in a sound, it can be kind of static, but it really shines when you make some automation lanes and doodle with the Draw tool. All 5 knobs plus bypass are available for automating. There is no mix control, which seems right somehow. I also tried their Backmask effect, which, once you get past the truly bizarre graphics and control labeling (again, clicking on a button gets better explanations), is a very versatile backwards effect. I already have one, Initial Audio's Reverse, which to be fair is designed to be simple and succeeds at that. However if I had experienced Backmask first I wouldn't have gone for Initial Reverse. Backmask has 3 different triggers, note value, mS, or level, which is crazy useful and not something I've seen in a reversing effect. I could probably figure out how to do the level-triggered backward thing using MRhythmizer, but it would take me hours. It also has an automatable freeze function. The big surprise was that neither of these FX do any bitcrushing that I can discern. From the graphics and advertising, I expected them to ruin audio in a distortion-y way, at least partially, but they do it in a smooth way, which is somehow more subversive and unsettling and delightful. They probably don't do anything in the end that I couldn't already do with my vast collection of sound deformers, but they do it in a quick and fun way. I've emphasized the chuckles I got from Dumpster Fire, but it could be seriously good for ambient ethereal drone-y sound design. So much fun at $20 each. Since Plugin Boutique carries them now, the purchase qualifies for whatever monthly giveaway they have going, and I hear that they may put them on sale from time to time. https://freakshowindustries.com/ (they have an unusual feature with their pricing, to discourage piracy they will let you "steal" the products at a variety of discounts depending on which theft option you choose, but their stuff has so much play value that there is really no need. These crazy people deserve to be rewarded and encouraged).

I dug how Noel started as a beta tester and then McLeod'd up. Pondering: if he knew COBOL, he could have cleaned up in 1999 when all the old business apps that were written in COBOL had date rollover issues. COBOL programmers were in short supply. I wonder if he cashed in on that skillset.