Starship Krupa

I wrote up a tutorial (with manufacturer-specific examples) on how to de-crapify your drive of spurious plug-in versions. Of course, I didn't catch everything that those wily manufacturers strew around, so others have chimed in. I may have missed an A|A|S or two, as it later occurred to me to do a search from the top level of my C drive for "AAS Player" and I found a 16th copy. Unbelievable. 16 useless copies flung all over the place every time I install a sound pack. Yes, for sure, Avid and Digidesign (which is where RTAS versions go, because the world needs RTAS, doesn't it?), especially after an iZotope installation/update. I think the canonical path for AAX is C:\Program Files\Commmon Files\Avid. I suspect that this is driven by suggestions from their tech support staff on how to reduce calls. It's easy enough to decline AAX, forget one has done so, then install Pro Tools First and wonder why the plug-ins don't show up. Then it's "how do I get them to show up in Pro Tools?" over and over again. This is Meldaproduction's rationale for still forcing installation of 32-bit versions (although they now allow you to install only VST3's, which is a great improvement). Especially weird in Vojtech's case because Meldaproduction's stuff (outside of the FreeFX Bundle) is decidedly not aimed at people unfamiliar in the ways of plug-ins. He's crusty enough to say screw it, we're not answering another support question from someone who fires up an antique program to work on an old project and forgot they excluded 32-bit versions or expects a reverse BitBridge.

All now hail the almighty Ctrl-Alt-F, which zooms your project to fit horizontally without zooming it vertically. Introduced in the latest drop.

That's a description of an effect. Maybe it's just a poor choice of category titles, but "Musical Instrument Software," sounds like software that is used as a musical instrument. The category right before it was Musical Instrument Hardware, a Moog was chosen. They had two categories for Signal Processing Software, isn't Melodyne more of that? Their categories need to be updated, I think. There's a single category for Workstation Technology/Recording Devices, which I guess covers DAW's because UAD LUNA was chosen. That leaves out so many other things. How about Recording and Mixing software, or Music Production Software? They have separate categories for Large and Small Format hardware consoles. Is that a hot market right now? And a 50-year Anniversary re-issue of a valve stadium rock bass amp won a technical achievement award? The SVT was a great achievement....in 1970. In 2020 a 300W tube bass amp with an 8 driver cabinet is kind of the opposite of a technical achievement. The big achievement would be finding a dependable source of 6C4 tubes. Or a vehicle capable of carrying it to gigs.

Great to see Antonakis come out with another one. RealSpread was an early hit in the Favorite Freeware FX thread.

Same. Is it worth the download if I already have other orchestral libraries like VSCO? Orchestral sounds are a background thing for me.

That's easily done. After you install Theme Editor, there's a collection of custom faders in C:\Cakewalk Content\Cakewalk Themes\Theme Editor Toolkit including these.

Updated with new Selection Module art and a few other small odds and ends.

Whoever referred to the default behavior as "destructive" knew what they were saying. Yes, please, do not destroy my MIDI clips!

Thank you much for clarifying this. I have a LOT of their lower-tier software, the kind of stuff you get in bundles or BOGO's and I wouldn't want to do anything that might dissuade them from participating in those programs. I've written them, to praise the product and to make a plea that they add some choices to that installer of theirs that spews 15(!) unwanted copies of AAS Player.dll/aax/vst/RTAS around my drive every time I install a sound pack. (I have a folder on my desktop called "AAS Wipe" that contains shortcuts to each of the places their installer puts the program where I don't want it)

Glad you're back up and running. I was thinking we'd be watching the financial news for a sudden surge in audio software sales revenues.

Thinking about springing for the $17 tier even though I have all of these packs except Plastic Pop. I have an older version of Entangled Species and I know they've updated the Chromophone engine since then, to its betterment. 4 new packs and one update for $17 isn't too bad assuming that they're okay with trading in dupes. I'd prefer to know that that's a standard policy. I'm sure manufacturers prefer people going to them if they want a different product rather than hawking license transfers on the cheap to fund it, and this way of handling that is preferable to the transfer penalties charged by other companies. Worst case I'd wind up with Plastic Pop and an upgrade to Entangled Species for my $17.

I support this, especially the date added part. I try out a LOT of plug-ins, nearly every freeware one that comes along gets installed and fiddled with a bit, and they can get installed into non-intuitive categories. Also, the display name might differ somewhat from the name of the plug-in. No matter what manufacturer actually coded it, if they sell it through PluginAlliance it will show up with PA as the mfr., so that can confuse things, too. Not under Unfiltered Audio, but Plugin Alliance. While we're at it, I'll feature creep it to drag and drop organization in the Browser, please? I forget that this doesn't work and keep half-consciously trying it.

Okay, hooray, everybody, as of this Early Access drop, there is now a command for horizontal-only resizing to fit the project width. Look for Zoom To Fit Project Horizontally. They did a fantastic job of implementing it, it does the same thing whether you are zoomed out to kingdom come or zoomed in to little bitty ticks. There's no default key binding, so you'll have to do your own or put it on the Custom Module. Mine's on the "." key because it was the most convenient unused key. Not precisely the lasso zoom that @Keni was asking for, but I think it will be a MAJOR convenience.

Clip outlines in the PRV are not a big deal for me, but it did have me puzzled that Tungsten wasn't showing them. The tint that tracks take on when they are armed for recording is something I'm interested in because I like to reduce ambiguity, and the shift to a slight dusty rose tint doesn't really stand out enough.

As the author of a Tungsten-based theme, I'm kind of puzzled about how in PRV, the only themes where I can notice the effect of View/Show Clip Outlines are the lighter ones. Mercury, MIL-SPEC Alpha, other lighter themes both show the clip outlines as an overlay. There seems to be some way to set this, as I see that Flat White Matcha and MIL-SPEC Alpha differ slightly, but I can't find it in TE or TYLIP. Also, in PRV, when a track is armed for recording, the view background and clip take on a pinkish hue. This seems to be universal, in every theme I can find, but has anyone figured out how to change it?

I finally fully grasped how routing works in TAL Vocoder-II, so posting it here as a public service. The basic concept of a vocoder is that you're using one audio signal to modulate another. It's a form of sidechaining, you have one audio source and you're using another one to affect it. The audio signal being affected is the "carrier" and the one affecting it is the "modulator." Many vocoders, including hardware ones, include simple internal synths to use as a carrier. TV-II has one, but may be used in a way where you may disable the internal synth and feed it both audio signals. My initial confusion with TV-II was that in order to use it with its internal synth, you set it up backward from the usual sidechain arrangement. The plug-in is installed on the modulator track, not the track actually being modulated. That was the biggest thing to get my head around. There are two ways to use it. 1. You want to use its internal synth (as the "carrier") with other audio controlling it (as the "modulator," traditionally a vocal). This is fine for the bread-and-butter Tupac/Daft Punk effect where you want a "robot voice." 2. You want to feed it carrier from your own synth track, and another audio track as modulator. This was my ultimate goal with a vocoder, because I want to use breathier pads for the synth input than the TAL Vocoder's simple internal synth is capable of. More Kraftwerk "Autobahn" than Tupac "California." We'll begin with case 1. Start with a MIDI track with the notes you want to send the synth, and an audio track you want to use to modulate it (usually a vocal). Insert TV-II as an effect on the audio (modulator) track. In the plug-in UI, at the top, click on the VST2 button and enable MIDI input. Go to the MIDI track and set its output to TAL Vocoder. That's it. Now, you'll have to fiddle with the controls in the plug-in, adjust the synth to get a sound you like, etc., but the routing will be set up. (The confusing part here is that you're inserting the plug-in on the modulator track, not the carrier. That's what I mean by backward.) For case 2., you'll be using a stereo bus. You will be sending audio only, not MIDI, to the plug-in. Create a stereo bus. Name it "Vocoder." Insert TV-II as an effect on the bus. Click the button in the plug-in UI that's labeled "Input Mode On." In the audio/synth tracks you wish to use, create sends to "TAL-Vocoder-2." Set the sends to Pre-Fader. Pan the send on the track you wish to use as the "carrier" to hard left. Pan the send from the "modulator" to hard right. To mute the dry sound from the carrier and modulator, just pull their faders down. If you want some dry sound, bring them up There are alternate ways to accomplish case 2, but this is the easiest I've found. Send a nice hot signal from the modulator to the right input of TV-II and again, do some fiddling with the vocoder controls. The internal synth is inactive in this mode, so leave it alone. General tips for vocoding: on your modulator track (usually voice) fire up a good 1176 emulation, set it to 12:1 and smash the snot out of the signal before sending it to the vocoder. Also, if using a vocal, a tuning correction/pitch changing plug-in can add another dimension. I use Meldaproduction MAutoPitch on the "Man To Woman" setting to bring my voice up (for the AIR Talkie Walkie sound), and set it so that it "glitches" a little bit. Feed the vocoder a nice, hot modulator signal.

I finally fully grasped how routing works in TAL Vocoder-11, so posting it here as a public service. The basic concept of a vocoder is that you're using one audio signal to modulate another. It's a form of sidechaining, you have one audio source and you're using another one to affect it. The audio signal being affected is the "carrier" and the one affecting it is the "modulator." Many vocoders, including hardware ones, include simple internal synths to use as a carrier. TV-11 has one, but may be used in a way where you may disable the internal synth and feed it both audio signals. My initial confusion with TV-II was that in order to use it with its internal synth, you set it up backward from the usual sidechain arrangement. The plug-in is installed on the modulator track, not the track actually being modulated. That was the biggest thing to get my head around. There are two ways to use it. 1. You want to use its internal synth (as the "carrier") with other audio controlling it (as the "modulator," traditionally a vocal). This is fine for the bread-and-butter Tupac/Daft Punk effect where you want a "robot voice." 2. You want to feed it carrier from your own synth track, and another audio track as modulator. This was my ultimate goal with a vocoder, because I want to use breathier pads for the synth input than the TAL Vocoder's simple internal synth is capable of. More Kraftwerk "Autobahn" than Tupac "California." So, we'll start with case 1. Start with a MIDI track with the notes you want to send the synth, and an audio track you want to use to modulate it (usually a vocal). Insert TV-II as an effect on the audio (modulator) track. In the plug-in UI, at the top, enable MIDI input. Go to the MIDI track and set its output to TAL Vocoder. That's it. Now, you'll have to fiddle with the controls in the plug-in, adjust the synth to get a sound you like, etc., but the routing will be set up. (The confusing part here is that you're inserting the plug-in on the modulator track, not the carrier. That's what I mean by backward.) For case 2., you'll be using a stereo bus. You will be sending audio only, not MIDI, to the plug-in. Create a stereo bus. Name it "Vocoder." Insert TV-II as an effect on the bus. Click the button in the plug-in UI that's labeled "Input Mode On." In the audio/synth tracks you wish to use, create sends to "TAL-Vocoder-2." Set the sends to Pre-Fader. Pan the send on the track you wish to use as the "carrier" to hard left. Pan the send from the "modulator" to hard right. To mute the dry sound from the carrier and modulator, just pull their faders down. If you want some dry sound, bring them up There are alternate ways to accomplish case 2, but this is the easiest I've found. Send a nice hot signal from the modulator to the right input of TV-11 and again, do some fiddling with the vocoder controls. The internal synth is inactive in this mode, so leave it alone. General tips for vocoding: on your modulator track (usually voice) fire up a good 1176 emulation, set it to 12:1 and smash the snot out of the signal before sending it to the vocoder. Also, if using a vocal, a tuning correction/pitch changing plug-in can add another dimension. I use Meldaproduction MAutoPitch on the "Man To Woman" setting to bring my voice up, and set it so that it "glitches" a little bit. Feed the vocoder a nice, hot modulator signal.

I, too, would like to see this. Mixcraft, my other DAW, has it built right in to clip properties. I even suspect that BandLab already have licensed algorithms that could be put to the task, given that there are multiple stretching and pitch shifting algorithms from zPlane and iZotope. In the meantime, the freeware Cockos Reaplugs ReaFIR works really well. Also, iZotope RX Elements is often available at deep discount from various retailers. It contains most of the basic noise removal parts of RX, and they may be used as individual FX. I believe I got my license as a "free with any purchase" at Pluginboutique.

Okay, we're up to v.3, now with matching Track Header and Clips Pane backgrounds and some cleaned up odds and ends, more green arrows, and a couple more sort-of-hidden surprises for those who go poking around opening things and watching for the glint of green. Yes, I've gone to the trouble of altering some things just for the sake of altering them, and what of it? You only thought you didn't need a transparent green background for the Tools HUD. Racing Green means to continue to delight with unexpected surprises as you use it more. It's not just a pretty face.

Ha, I finally found at least some of them by poking around in the Cakewalk directories. C:\Program Files\Cakewalk\Rapture Session\Resources\Instruments\Thumbnails contains the 22 images used for Rapture Session's patches, and they are all in the nice overhead lit, vignetted style of the stock templates' images. Some are the same images, some of the Start Screen Template images are missing (the mixing consoles), and there are images there that aren't on the stock templates. Now I just need to figure out how to reliably make them "stick."

Right you are, sir. I just picked out a nice color for both of them and it looked great until I realized that the creators of TE don't appear to give us access to the equivalent colors used below the Track View Bus Pane (which would be "Background" if it existed). Nor do they give us access to the equivalent areas below the Track Pane in PRV and elsewhere. As I am known elsewhere as the Konsistency Kop, so must I go with 1F1F1F in v. 3 in order to have all of these areas match (also on a practical level I agree with you, Kevin, that it pulls the eye away from the action) . And I had such a nice dark (almost black) green. I have other plans for it, though. Anyway, as I continue to notice small un-green items, as one does, I'll be updating Racing Green, so if anyone has any suggestions, or spots a blue button where it could be green (I didn't want to go overboard, so stayed close to the Tungsten defaults for MSRW), please let me know. Thanks to TYLIP, there is a nice handful of tiny changes in v.2 , like the lock icon in Hardware showing an open hasp when it's not locked. And changed a bitmap or two that nobody ever touches. Same with wallpaper. In order to see the XKE, you must set it to Default.

I think Kevin's saying that his PRV looks like that regardless of theme. Even in Tungsten. Tungsten on my systems respects the darker colors that were introduced a year or two ago.

Is it possible you have a stuck custom color set? That's not normal, stock Tungsten doesn't look like that. I figured out what you meant by the colors below the Track List and Track Pane, I agree and will get on it. Thanks!

I'm not sure what you mean, even with the illustrations. Do you know where in TE I can find these colours? I'm definitely up for less jarring. (speaking of colours (sic), have you found the Easter Egg that honours the theme's British heritage?) I just updated it to add some more green in the menu bar arrows, as well as changing the backgrounds of the Color Picker and HUD. Also made some of the greens more unified and removed the gradient from the menu bars to further flatten things.

Is that how the PRV looks on your system? That is indeed heinous. On all of mine, it's like this: