Starship Krupa

Okay, I checked and it does indeed unlock both TR5 and TR6 versions. I probably missed it because of my practice of keeping all of my unused T RackS plug-ins in a folder outside of my VST3 folder. When I get a new license, I move them over to VST3, and I must have moved the TR5 versions over rather than the So, heads-up for all you other T RackS freebie grabbers: I went through and tried all of the recent ones I thought might also have TR6 licenses and found some surprises. Apparently if you acquired your TR5 license within a certain time frame, it will also work for TR6, so here are the recent freebies that I found to have TR6 licenses. Classic Comp Dyna-Mu Quad Compressor Space Delay Tape Machine 440 White Channel The last 4 were the ones that surprised me. I don't remember having heard about TR6 when those licenses were being given away.

Hmmm. I shall investigate further. The recent White Channel giveaway unlocked both of them.

Redeemed serial number, it is of the expected quality. Curiously, it's the T RackS 5 version. Not that that makes any difference to me, although I am curious to hear from the glitchers who snagged 6 MAX whether there's any noticeable difference between them when using the processors as individual plug-ins rather than in the T RackS rack.

Is that the belief that a certain piece of gear or software will bestow magic upon the user, allowing them to produce work of the same quality as their heroes? For me, if I'm striving to get a "sound," I find comfort in knowing that any limitations I have are my own and not in the tools I'm using. Like when I first got serious about playing drums a dozen years ago, I went on Craig's List and bought a vintage Slingerland kit (see "Krupa") and restored it. Once I had that kit, I could relax and not be concerned that my "Asian firewood" CB700 kit was holding me back, that all I had to work on at that point was 100% my playing and with a drum kit, tuning). I knew intellectually that I had gotten my dumpster rescue kit sounding pretty damn good, but getting a 1970 Slingerland kit removed all doubt that there was nothing except practice between me and sounding good on the drums. Same with my audio software: if my output doesn't sound as good as the music I like to listen to, well, I need to hone my skills, because I have top tier software, same stuff the pros use. Got a nice Focusrite interface, too.

I would imagine (because I haven't hung with younger music producers lately) that there's still an old gear mystique. There's a strong impulse in musicians to want to use similar gear to what our musical heroes used. The suspicion that it shortens the path to sounding like them.

I guess I read the bit about "the end of a fade out" and it threw me off. As I said, I had trouble parsing it. Nice that your suggestion helped.

This is an 1176 clone. Honestly, how many compressor plug-ins do I already have? On my system I count 30 of the damn things, and that's leaving some out that call themselves "dynamics," plus I have at least a dozen high-quality channel strips and multi-fx that include compressors. Oh, and in Sonar, you get four ProChannel compressors. Then half a dozen more MB compressors. I have ones that work like optical, VCA, FET, pure digital ones that don't emulate anything, compressors up the kazoo. Half a dozen brainworx and brainworx OEM's. Four each from IK and Melda. About 25% of my collection of compressors I don't know if I've ever even opened their UI, they're part of suites like Ozone and Neutron. I don't know how many more I have licenses for but haven't bothered to install, like the Native Instruments ones I got with the Music Production Suite and Komplete Start. Multiple of my compressor plug-ins I'm convinced are versatile enough to emulate any piece of vintage hardware and most software compressors. The compressor I actually reach for most often? MCompressor, which is from a free bundle. At the next sign of misbehavior, I'm ready to bin this thing. It already needs to have the PACE service running, I don't need UAD's own gimmick eating up cycles.

I'm having a hard time parsing this. From reading it, I can't make out what the issue is nor what the proposed solution is. You get a "pop" sound at the end of exported tracks when you use effects, and you don't hear it when you don't use effects? Can you post a small section of audio that demonstrates the issue? None of the songs I've ever exported contained a pop sound at the end. And I use multiple effects, both on individual tracks and on the master bus.

Yeah, a plug-in rescan triggered it to download and reinstall UAD Connect after I had uninstalled it. And it proceeded without asking or waiting for my approval. So, let's see....this plug-in makes it possible for them to install unwanted software, software that has the purpose of monitoring the user's system. How is that not malware? It's a good plug-in, but just how much crap is someone willing to put up with in order to use an 1176 clone?

I got a set of MDR-7506's (I believe that's the model you meant?) from a free box at a yard sale a year and change ago. The earpads were pretty much shot, which is probably why they were in the free box. Upon first listen, I was very disappointed in these "legendary" cans. Shrill and no bass. But I went ahead and ordered replacement pads, and whoa, I understood what the fuss was about. These are the pads I bought: https://www.amazon.com/dp/B07N6GL2PG The gel feels great and the fabric has shown no signs of deterioration, which is the weak point of Sony headphones. So I'd suggest trying a pair of these pads rather than buying a new set of cans. I think my pads just weren't sealing well enough.

Unfortunately there is no way to change those colors at present. I suggest that you make a feature request in the Feedback forum. That way, I and others who would like to either be able to change the colors, or at least have fixed colors that are more legible can comment and let the developers know that this feature is important to us. BTW, congratulations on getting a drum map and drum grid working. I know that it's not an easy thing to do the first time. I find it worth it, as I like programming beats on the drum grid, with the kit piece names and M/S buttons. There are also some cool tricks you can do with the "mapping" part of a drum map. I have a map that lets me program beats using a single map that can drive a dozen different synth instances. I did this in order to be able to use single hits from synths that don't have full kits. If I didn't use a drum map, I'd have to program each synth on a separate MIDI track, which would be a clumsy process. Also, if I decide that I want to switch to a synth that does have a full kit, all I have to do is change maps rather than having to merge data from multiple tracks into a single track. I'm a fan of programming using the drum grid and the mapping feature, but I think that the process of setting it all up, especially until the user is familiar with it, is needlessly obscure, to the point where few users bother with it.

Ahh, by clicking in the Ruler. I didn't know that.

I can't seem to find them in the Keyboard Shortcuts dialog. Exactly what names do these go by?

So "set Now=From" moves the Now Time to the beginning of the selection. I guess the use for this is that you can move the Now Time without clicking in the timeline and losing your selection.

I don't understand this. What is "set Now=From?" I'm always up for a useful key bind, and I'm curious as to what this indispensable function or command is. I seem to have dispensed with it all of these years, so much so that I can't even figure out what it is from context.

Hmm. My guess is that the "core isolation" driver may have some fixes applied to it that have nothing to do with core isolation. Really strange that Cantabile could use the other one and Sonar could not. Thanks for posting the solution.

Certainly, but they will also be for Sonar users who didn't buy anything from the old Cakewalk company.

Are you referring to the Snap To Scale feature? It's not in the most obvious place, but it does make it so that all notes you enter will be within the scale you set:

Your "idea" is that there are people who want to use Sonar but they don't because in order to use it they would have to pay for a BandLab membership? Did you just now figure this out? If so, congratulations, it will help you to understand a lot of things, because it applies to most other commercial products and services. You will find it to be true about anything that costs money to use. Many people will elect not to use it because they don't want to spend the money. They may not earn enough money themselves or there are other things they would prefer to spend their money on. For instance, I would like to take an airline flight to France and stay for a month at a nice hotel, but I don't because it costs money, more than I wish to spend. I would like to have a brand new automobile but automobiles cost money and I already own one. I would like to eat in a nice restaurant every night, but instead I choose to prepare my own food and eat at home because meals cost much more at nice restaurants. You probably have some things that you refrain from doing or owning because they cost money and you don't wish to spend money on them. The people who make Sonar are in business to make money. They're not in a contest to see how many people they can get to use their DAW. They make money by selling memberships to BandLab, which include the right to use Sonar. BandLab memberships are more attractive to some people because they include the use of Sonar. There are even people who pay for a BandLab membership who use only Sonar and nothing else included with the membership. If Sonar didn't cost money to use, certainly, more people would use it, but BandLab wouldn't make money from it. They would lose money, because they would still have to pay the people who develop and test Sonar and for the servers and bandwidth to host downloads.☹ The companies who make Waveform, Pro Tools First and Luna let people use them for free because they act as advertising and encouragement for people to buy other products that the companies sell. In this way, they make money indirectly. Cakewalk by BandLab provides name brand recognition for BandLab, but BandLab have decided that it doesn't provide enough to justify continuing to develop it as a free product. It now has a similar role to Waveform Free and Pro Tools First; it is a good demo for the features of Sonar (it got you interested in it🙂). Hope this helps....

I don't see this "often," and who knows, it may just be that the OP's do read the replies, and then failed to acknowledge that they did. While we're on the subject of forum behaviors, one of my least favorite is the one where a question is asked, then an answer is posted by someone who is not an "established" forum participant, then the exact same answer is posted by an "established" user, after which any ensuing discussion completely ignores the post by the non-established user. I call it New User Invisibility Syndrome. BTW, since there was a recent poster bemoaning the fact that he couldn't find a way to legally obtain Z3tA, and I mean this guy was distraught that he couldn't get hold of his hero's favorite soft synth, I decided to give it another try to see if I could see what all the fuss was about. I didn't quite catch why it's so revered. It does those 2000-2010 club anthem sounds really well, but that's about all I could get out of it. If I want that sort of thing, MASSIVE has it covered. Matters of taste and all. Maybe I'm just not as passionate about specific virtual instruments. Not that I don't have my favorites (Hybrid, Chromaphone, Ultra Analog VA, XPand!, Syntronik, Soundpaint), but if I suddenly couldn't use one of them for whatever reason, I wouldn't see it as something that would prevent me from getting my ideas out. Is there a synth, or synths, with such a unique sound that no other synth can approximate it?

I would be surprised if MCompressor turned out to be the culprit, although of course it could be the proverbial straw that breaks the camel's back. I've done extensive testing and comparisons using Plugin Doctor, and MeldaProduction plug-ins are almost always the least resource-hungry in their categories. I can't even remember what the exceptions were, and by how much, but sometimes it's orders of magnitude. Since I tend to run trailing edge spec systems, it was a major selling point for my investment in their products. Jonesy has the best advice, just narrow it down. Safe mode method, or you can try educated guesses. Linear phase processors tend to be resource hungry. You might try going into MCompressor's settings and experiment with disabling/enabling OpenGL if you suspect that your video is a bottleneck. But on the system I'm typing this on, a dual core i5 laptop from 2017, I can pile on MCompressor instances all day long. And I have OpenGL enabled in all of my MeldaProduction processors. Also, can't recommend this highly enough, Microsoft Developer Pete Brown's guide to tuning your system for audio work.

Unfortunately, the DAW has to use the "slowest common denominator" when it's doing plug-in delay compensation. It can't just delay some tracks and not others, because that would result in them being out of sync during playback. Disable your plug-ins one by one until you find the one(s) causing the delay. You may need to stop and start the transport to hear the results. Did you try disabling PDC? It only applies to playback, so you can use it during tracking to avoid that latency you're experiencing. Of course, when mixing, switch it back on or you won't be hearing what you'll actually get when you render.

When I first started those topics half a dozen years ago, I had hoped to get them stickied one day. This never happened, and I suspect that it's because Cakewalk don't want to be seen as endorsing any 3rd-party plug-ins unless they are actually bundled with their products. Every once in a while I try to bump them back to the top, but it would be nice if others would contribute and do this as well. As far as subtopics for individual categories, well, the threads as they are, covering everything, have a hard time staying on the front page. Please, folks, if you think those topics are handy, bump them with whatever freebie(s) you don't see there already. On another note, something I would LOVE to have is a VST version of the QuadCurve EQ. It is so good that I break my rule about not using DAW-locked plug-ins.

Maybe so. The only drawback I can think of is that users of this forum seem to often neglect to make use of the search function, therefore such a thread might become "invisible" once it scrolled off of the first page. Other than that, I can see it going on for many years and hundreds of posts. I'd probably split it into one for FX and another one for instruments.

Bottom line with TTS-1, Cakewalk didn't delete it from the package on a whim, they kept it as long as they could. The code belongs to Roland and can't be updated. So either keep shipping a feature that's falling apart or eliminate it. I saw a rumor that Roland asked them to stop, maybe? I suspect that the bulk of people who are interested in it have licenses for SONAR anyway. I forgot about the Adaptive Limiter, it's in the same category as the LP EQ and MB. They just need to have their licensing mechanism worked out. Otherwise, they're attractive and useful. Linear Phase multiband compressors are not that common (Waves, Fab Filter, and MDynamicsMB are the only ones I know of). @Bristol_Jonesey, Right, I forgot about PX-64 and VX-64. They were included from the start with CbB, with a bit of finesse required to enable them. I didn't know that people were having issues with these. They cover a lot of tasks. There's also the TL-64 Tube Leveler and TS-64 Transient Shaper. I know the TL-64 is included with CbB and Sonar, not sure about TS-64. Boost 11 was added to CbB, wasn't it? What about Channel Tools? Also a handy plug-in, with sample delay and M/S control. Now that I think of it I guess Sonar does have a decent collection of bundled plug-ins. esp. once they're polished up. I'm still lobbying for a pad/phrase sampler. XSampler works well for its job, but my task is dialog samples ("Little Fluffy Clouds" and "Jesus Built My Hot Rod" are part of my musical DNA)