Starship Krupa

The best way to keep it going is to use it as intended in a respectful way. Contribute, thank those who contribute in ways that help you, and have respect for those who continue to host it. Treat your fellow forum contributors (and heaven knows how many lurkers) with kindness and respect the forum rules about personal/political/religious attacks. If you're a user of Cakewalk by BandLab and/or SONAR or Sonar, visit the other forums on this site and help users with their issues (which is the overall purpose this site is supposed to serve). Beat not the dead horses. In this forum we're allowed free rein to advocate for the purchase of other companies' products, even ones that compete with BandLab's. I don't know if that's something you'll find elsewhere. If you want to thank the people that make it possible, I believe that @Jesse Jost is the BandLab employee who has the most to do with it, and then there are moderators. I'm not sure who all of the mods are, but @Wookiee in particular recently suffered a devastating personal loss and has continued to soldier on. They would probably like to be told how much you appreciate the (unpaid in the case of the moderators) work they have done and continue to do to make it possible. As for me, almost entirely thanks to this forum I've managed to assemble a vast assortment of industry powerhouse tools that far exceed my ability (and time) to make use of them. In my life and creative and professional pursuits, knowing that I have the best tools possible is freeing. If I see or hear something that I would like to incorporate into my own work, I know that the people who made it don't have any magic toys beyond what I have. Since I'm old enough to remember when one visit to a professional studio to make a 4 song demo cost as much as I've spent on my entire collection of music software, this is all like a dream world. If an experienced professional engineer were to sit down at my DAW computer, they might even be impressed, although they might notice the relative absence of Waves and UAD products. So I thank my fellow forum participants for sharing what they know. Moreover, I've managed to avoid lasting beefs with anyone despite what I'm sure are divergent political views between me and multiple others. But political opinions are merely one aspect of what makes up a person, and I believe that the things people have in common should be emphasized.

What they said was that they (the Cakewalk staff) were already aware of our preferences in licensing and that discussions of licensing models were no longer welcome on the forum. Then a BandLab employee told us that they are indeed interested in hearing from us and provided a means to do so that doesn't involve the forum. As a veteran of multiple software companies, I have a theory as to what the situation may be. The person(s) at BandLab who calls the shots on this may have a single mandate which is to sell more memberships. Period. Their bonuses and possible promotions are tied to how well they do that. If so, then to them, Sonar and Next are merely further incentives to buy a membership. At worst, in this scenario the sale of perpetual licenses is actually at odds with their mandate, because they don't require signing up for a membership. If my suspicions are correct, then the best we can hope for in the short term is a hybrid plan similar to the Studio One+ hybrid, where a year of subscribing nets you a perpetual license and use of the membership benefits during that time period. That would satisfy the mandate to sell memberships as well as satisfying our desire to own perpetual licenses. As far as the issue of being able to work on existing projects goes, CbB is still free to use, still being bug fixed, and will open Sonar projects just fine.

Thank you very much, Ashwin, having an approved way to contact BandLab will allow concerned parties to be heard without disturbing the support forum.

It's nice what you can get just by asking. So I asked. The Cakewalk team who read this forum most definitely already know that many people want a perpetual license option for Sonar, and they've stated in word and action that discussions/questions/rants about that subject are no longer welcome. They haven't said it outright, but I suspect that they have done their part to convey the already expressed opinions and are just tired of it because there's nothing else they can do. But if you would like to be able to purchase a perpetual license for Sonar, Next, or both, an actual BandLab/Cakewalk employee has told us how to tell BandLab about it. And that they are "keen to hear more from [their] users." It would be a kindness to the folks who would like to buy perpetual licenses if we could keep it as civil and respectful as possible, whatever positive words of encouragement seem appropriate.

We have been told (and it's been demonstrated) that further statements about people's preferences in licensing models for Sonar and Next are not welcome in this forum, so in the interest of peace I'd like to respectfully ask whom people should contact regarding their preferences in this matter. The Cakewalk development and support teams already know that there are many people who wish to transition from Cakewalk by BandLab to Sonar (and/or Next), but are waiting until such time as perpetual licenses are made available. I'll presume that the person or persons who are in charge of making decisions on licensing would also be interested in this information. What is the best way for Cakewalk's loyal and passionate fanbase to contact the people who will be making the decisions on licensing?

Okay, this is the information that I needed. No, I haven't been clicking on clips, but I have been clicking on track numbers to select tracks. What I need to be doing before I record is click somewhere other than the track number to focus the track without also selecting it. The difference between selection and focus when it comes to tracks has been a source of mystery for me since I started using Cakewalk, so thanks for setting me straight. This may have a ripple effect in regard to other actions that send me to Ctrl-Z.

Same. Please let us know what they have to say..

Background: I've been trying to pin down why it is that of all of the programs I use, Sonar is the one that I most feel like I have to tiptoe around in it to avoid doing something that I didn't want to do. I use Ctrl+Z more in Sonar than in any other program. Not coincidentally, I've found it best to map a single keystroke to Select None and use that a lot, too. This led me to suspect that what's tripping me up in Sonar has something to do with its selection and deselection behavior being something that I'm not expecting. That is, there are common actions that result in objects, or multiple objects being selected that I don't expect to result in objects being selected, and/or there are common actions that I expect to deselect things that don't result in the objects being deselected. So I've been watching out for that. Tonight, I identified something. The problem: This has to do with MIDI recording and editing. If I have a MIDI track or MIDI clip selected in Track View, this results in all the MIDI notes from that track/clip being selected. It often happens that I have a MIDI track (and therefore all of its clips) selected due to the fact that I must select the MIDI track in order to have it echo what I'm playing on my keyboard. Having the track selected is as it should be of course, otherwise how does Sonar know which track you want to play into. However, what happens over and over and over ad nauseum is that I record a MIDI track by playing notes from my keyboard, then I go to Piano Roll View to tidy up the notes. INVARIABLY I click on the edge of the first note that I want to tidy up and end up moving the edges of all of the notes in the track simultaneously. Then I curse under my breath, hit Ctrl+Z, then hit my dedicated Select None key, after which I'm finally able to do what I want, which is adjust individual notes. I. Am. So. Tired. Of. Doing. This. I understand that having all notes selected is handy if you want to run quantize on the notes right away, but I usually don't. My most common task after recording is manual adjustment of note start and stop times. There are plenty of times when I do want my editing actions to affect all of the notes, what I'm saying is that this never occurs right after I've finished a take. Ctrl-A is fine for when I want to do that. For comparison, I tried the same operation in 2 other popular DAW's. I didn't have this issue with either of them because selecting a track or clip in their track views doesn't select all the notes in the piano roll. In both cases to select all notes, you right click in the piano roll and choose "select all" from the context menu. I was able to go directly from recording the take to editing a note with no deselecting or undoing or any of that mess and it was like a breath of fresh air. The best solution I can think of is to have the OPTION not to select events with clips much as we now have the OPTION not to select events with arranger sections. It could even have an override, where when you have selecting events with clips turned off, an Alt-Click will select the events.

I had no idea either! I only knew from reading the by-lines! Even after reading William M. Gaines' biography they remained men of mystery, as were the rest of the other artists and writers! I learned more in that book about Arthur the avocado plant than I did about Mort Drucker! The biography went into some detail about the career of Harvey Kurtzman, who by that time had not been with Mad for many years. It was like looking at record sleeves and seeing the names of session musicians and engineers and producers. If it wasn't George Martin or Phil Spector, it was a mystery! We knew that Elton John's records sounded great, but who was Gus Dudgeon? They didn't seem to get much work outside of Mad! Jim Davis at least did some work for Sports Illustrated and did some movie posters for Hollywood! If I remember correctly, one of the original lobby posters for Butch Cassidy and the Sundance Kid (known to Mad readers as "Botch Casually and the Somedunce Kid") was drawn by Mort Drucker! I do know that the influential French illustrator and cartoonist Jean "Moebius" Giraud was strongly influenced by Drucker in his early period! This was before he developed the style he later became known for! If you look at his early work, especially the Western comics, the shading and crosshatching are Drucker all the way!

This has been my playbook for some time now.

Even using the Cakewalk Plug-In Manager doesn't stop them from being scanned, it just keeps them from being displayed in the Browser and other lists within the program. The first thing I do to keep things clean is make sure that my music and video programs aren't scanning anything they don't need to. Only install VST3's, and since plenty of manufacturers' installers install unneeded formats anyway, I manually go into my VST2 folders and delete things that are already installed as VST3's. For tidiness' sake, I also go into my C:\Program Files\Common Files\Avid\Audio\Plug-Ins folder and delete anything I find in there because I don't run Pro Tools. I don't do it as often as I once did because fewer and fewer vendors seem to be scattering clutter around. Every so often some installer will also dump something in C:\Program Files\VstPlugins or C:\Program Files\Steinberg, and I just delete whatever I find there because I have custom folders for my VST2's. Other than that, it's harder to do with VST3's because there is a canonical standard location for them, but it is possible to disable them just by moving them to a different folder. I do this with all of the non-purchased T-Racks plug-ins that IK Multimedia's installer puts in my VST3 folder. I have a folder called C:\Program Files\Common Files\T-Racks where I drag all of the .VST3 files that I haven't purchased. This could also be done for others that you just don't want to scan. I've been doing these things for years and have yet to run into any issues regarding registry entries, although anything is possible. I'd say just make a subfolder of your VST3 directory called VSTNO or whatever where you will put the plug-ins you don't want to scan every time. Then drag that folder out of the VST3 folder tree when you don't want to scan for those plug-ins and drag it back when you want to use them again. The only problem there is that installers will just happily put the latest versions of their VST3's in the top level and you'll wind up with 2 of them, maybe even different versions, being scanned. There's also this, which I'm kind of surprised I don't see anyone talking about on this forum. I haven't tried it so I don't know if it would serve your purpose: https://www.kvraudio.com/kvr-studio-manager

Had a subscription as a kid! I lost interest in the 80's! I wasn't watching the TV and movies that they were parodying! The last one I read, bought off the rack, was when the Watchmen movie came out! Mort Drucker and Angelo Torres were amazing illustrators and caricaturists!

The most important things to know before recommendations can be made are: Price range How many audio channels do you wish to be able to record simultaneously? Do you need 5-pin MIDI connectors? The price for decent audio interfaces starts at around $50 for something from a reputable manufacturer who supply an ASIO driver with it. The $50 buys you a single mic/line input and a line input, 2 channels simultaneous recording. 2 mic/line inputs will cost you another $15. Check this out on Amazon: https://www.amazon.com/Mackie-Interface-Onyx-Artist-1-2/dp/B07664LMPQ/

I consider myself a cheapskate, really. Part of the fun of the hobby for me is seeing how much I can do/get for how little cash outlay. So by "budget," I mean "how much I will allow myself to invest in a mic" rather than "how much disposable income I have to put toward this hobby." May be the same with you. The Baby Bottle SL is the first mic I've ever bought brand new as well as being the most money I've ever spent on a single mic. My most expensive mic before this was my AT 3035. Nice mic, purchased used for well under $100.

Nice mix and performance. I like the double track effect on your voice. The parts that don't have it seem....less by comparison. I'm on my laptop listening via my Altec Lansing Mini Life Jacket, so not the best fidelity, although a sound I like and know. I might have put a little slappy delay on the vox, just above the limits of perception. Still wish I had your singing voice....

To be honest, I wouldn't have expected a huge improvement in performance relative to your old system. At some point in specifications, perceptible performance isn't going to improve by that much for DAW use. The new system improves upon the memory speed and graphics, which are two areas that will yield better perceived performance, so you're covered there. You haven't mentioned exactly what performance improvement(s) you were expecting. We assume around here that people are striving for ever-lower latency, but that, too is at some point constrained by USB or Firewire technology. Latency, screen drawing, what is it that you are seeking? What kind of projects do you commonly do? Orchestral pieces involving sample libraries? Audio with many FX? Electronic with many soft synths? Scoring to video? The resources that those different types of project depend on are....different. Sample libraries like a lot of fast RAM and fast disk for loading. DDR5 and NVme. Audio with FX and electronic likes faster processors with more cores. Scoring to video wants a good video card. As far as I can tell, your system has all of those things. It's a Dell, so it's well-integrated. The only issues I've ever run into with my Dell towers were due to manufacturers' drivers not working as well as the (older) drivers supplied by Dell. The Audiobox 96 is a time-tested and currently-supported interface. One thing to check that people sometimes neglect is the possibility that a cable has gone bad. When I purchased my (used) PreSonus Studio 2|4, it came with a USB A to USB C cable. It had crappy performance until I tried a new cable.

Do you have the BandLab subscription that enables you to activate it?

I too think it would be a mistake to keep Sonar and Next subscription-only. I'm hoping that they're just testing the waters and/or deciding how to implement a perpetual license. Count me as disappointed. I hope we don't have to wait for a Waves-style backlash. So many people swore off Waves forever during that debacle. Also, the only other DAW on the market (to the extent that it's even on the market) that's subscription-only is Audition. Does anyone who didn't get it as part of their Adobe subscription use it? Does anyone subscribe primarily to get Audition (yippee, not only do I get my favorite DAW, but I get these cool photo and video editors!)? I wonder how well they're doing with the subscriptions.

Hmm. Kazrog blames Cakewalk, says Cakewalk don't support newer VST3 spec? Seems unlikely, Cakewalk are proud of their strong support for the VST spec. You try to contact Cakewalk support? What do they say? Cakewalk engineers need to learn of this issue. Kazrog should have dropped them some email if they thought it was Cakewalk's fault.

I found out about the SPL Vitalizer because a guy posted a song on this forum. I don't remember his name, but I remember that his singing voice reminded me of Eddy Grant. His mix was really well done and pro sounding and it had this ear candy sparkle to it that impressed me so I asked him about it. He said that it was probably his use of the Vitalizer, so I downloaded the demo and tried it and then waited for the next "our plug-ins for next to nothing" sale from PA. I'm generally skeptical about exciters. Some of these online automated mastering services might be using that kind of processing to put on some "shine." It usually sounds better to me when my ears are kinda fatigued, but then unnatural when I'm relaxed and listening more closely. I've also had it jump out when doing test listens on lower-fidelity playback systems. You guys, very experienced listeners, initially thought the Mixea version sounded better, but your opinion changed after further listens. That's similar to my experience with over-applied exciters. The Vitalizer might be doing something like that, too (the manual is vague enough to suggest it), but at least if you do it yourself, you can control the amount and not overcook it.

Look up the album on Wikipedia and Ms. Goschen is there in her birthday top. The other 6th grade girls must have hated her.

Kidding aside, it seems like a good opportunity to clap on a set of headphones and fire up Metric AB and listen hard to what sounds better to you about the Mixea'd track. There is no way on this green Earth that you don't have the tools, the question is which ones and how to apply it/them. The first time I tried running one of my mixes through Ozone Elements (both the presets and the Assistant) was a sobering experience. Remembering the legend of John Henry, I scraped my ego off the floor and got busy with the other tools I had available and worked until I could equal what Ozone was doing, and then I worked some more until I got something I liked better than Ozone. You said "clarity." Try patching this in: https://www.plugin-alliance.com/en/products/spl_vitalizer_mk2-t.html

Sounds like your budget is higher than mine, but I just bought one of these Blue Baby Bottles on sale at Amazon for $164: https://www.amazon.com/Logitech-Creators-Microphone-Recording-Streaming/dp/B01N7TTXZ5 I'm not much of a mic maven, but years ago a studio owner friend of mine used one of these to record me and it sounded great.

Hmmm. Must figure out what the magic pixie dust is there. If the guy with the most audio processing software of anyone I know is impressed, it must be pretty impressive.