Starship Krupa

At Parts Express. If these are similar to the Sondelux cans they closely resemble, aka the Samson SR850, they sound amazing for the price. They're my main mixing and listening cans these days. My Samsons have cloth earpad covers, where I see in the photo that the Talents appear to have textured vinyl, which may account for the difference in standard price. I only just now noticed it, so I hope the sale is good until midnight at least. I'm tempted to buy a pair just as backups, even with the $6.95 shipping fee, you can probably also find an item or two at deep discount on their site to help spread the shipping fee out. Wow, I just spotted the PreSonus HD7's, which look even closer to these than my Samsons, down to the details on the earcup vents.

Or something like this. Your very own keytar for under $20! I actually own one, got it at Salvation Army for $9. Nice velocity sensitive keybed with a ribbon controller on the "neck." The SONAR by Cakewalk is dead, long live the Cakewalk by BandLab. BTW, was it part of the Focusrite contest that people had to register for the forum and make at least one post? Because I'm seeing a lot of "one post wonders" lately.

Hmm, I've seen the thing where Track Folders won't open or close, but it was only on one project, so I wrote it off as a glitch. I also experienced stuff like Take Lanes not expanding along with it. Then I'd click around until I found the magic button that would jar the whole deal back into whack. That was usually expanding a collapsed Track or Folder or similar. Then "poof," working fine again for a while. It went away for good after I deleted a bunch of unused takes. Lenses you say? The global lens or the one for the track headers?

Yes, but not just clips, all sorts of things. Automation nodes, future edits, punch points, etc. All of them become so deliciously....alignable when there's a line I can stick there to align them to. If I were to create a motivational office poster about it, it would say "You Can't Say 'Alignment' Without 'A Line.'' Or something. Perhaps Cakewalk lacks such a feature. Gosh I hope not. Feature request time if it doesn't. This is what I had been trying during the aforementioned krakensturm. Between the time I posted and you answered, I figured out that it works much better if I have the Snap Intensity cranked all the way up to the far end of Extreme. It gave Aim Assist some biceps. The Ref. Guide (aka "revised standard version") refers to an "option called magnetic snap" (sic) that has strength settings low, medium, high, and off. Maybe it was like this in SONAR? In Cakewalk, this corresponds to Snap Intensity and has a variable setting from Light to Extreme. I couldn't find an "off," but Extreme seems to be the closest equivalent. Seems odd that "Extreme" is the new "Off." That dadgum Aim Assist line, though, some prankster put this rectangular readout on the thing right on top of the information I'm most interested in, which is what measure and musical subdivision my cursor is at. The readout apparently can't be suppressed, nor can its type size be increased to something my eyes can make out, and it insists on reading out whatever the Transport meter is set to all the way out to the last digit, so I can know exactly what "tick" my cursor is located near (were I able to read it of course). Since the Aim Assist wiggly blob sits right on top of the Time Ruler, it renders both of them useless, and I've always had to go by either the big display on the Transport module or the smaller one above the Track headers. I never knew there was a unit of musical subdivision known as a "tick" until I started using Cakewalk. To me, that's what you check roadies for before you let 'em on the bus (hey!).

As a veteran of other DAW's and video NLE's, I'm used to being able to align clips and other events to either the tails of markers (in programs where the markers are designed with tails that go all the way to the bottom of the track window) or to resettable vertical rulers. So far, I haven't been able to find either of these features in Cakewalk's documentation. The Now Time indicator and the Aim Assist Line are nice things, but have a couple of problems each, the first of which is that there's only one each of them, the second that they move, the Now Time indicator is used for other things (such as keeping track of the Now Time), and the Aim Assist Line's job is to flit to the nearest snap point and hover there like Tinkerbell as far as I can tell. Which is handy, but I find that there are other things that can distract the Aim Assist Line. Is there such a feature that with Cakewalk's richness and depth of features I have somehow missed? If, as I fear, not, how do the rest of you folks go about doing things like aligning the start edges of 4 clips that are buried in the 3rd Take Lanes in Tracks 20-23 with the finish edge of a clip in Track 5 and then two days later punching in a MIDI keyboard part at the same start point that will be recorded on Track 30? And then go in and automate a filter res open and close that peaks exactly at our aforementioned point of interest? With vertical rulers/marker tails, it's easy. You plop down a nice vertical line that comes in a choice of colors, then you line everything up to it. Without them, I am finding it to be like trying to thread a needle blindfolded. While on a sailboat in a gale. With a recently-unleashed kraken trying to steal the thread and needle.

Thanks for posting the answer you found, mdiemer. It's a good reminder to me to always check to see if a sample player or synth patch or whatever is using its own reverb so that I can decide whether to (usually) turn it off or leave it on. I almost always dial in reverb by using a single plug-in on a single send bus because I like the retro and gluing effect (and because I haven't learned how not to get my reverbs all piled up if I put them on individual tracks?). Built-in reverbs are usually not as good as the ones I have available in my VST folders and they clutter things up.

In every way except that, Cakewalk by BandLab blows its doors off, and I could get you most of the way to the functionality of the bundled stuff with freeware I know about, and even further if you give me $50-100 to play with and can wait a few weeks for things to come up on sale at Pluginboutique.

Hey, thanks! Now I'm wondering how my clips could have gotten partially muted without my having invoked the Mute tool. I suspect that it has something to do with me having been using the Smart Tool, which can morph into many different implements depending on what and where one is clicking. Maybe since some of my clips wound up on top of one another in the mayhem, maybe some muting was applied automatically? Is that something that happens?

I had some comping issues, stuff going on with grouped clips being dragged around by accident and somehow wound up with a few clips that have their audio muted for certain parts of them. I've tried messing with clip gain, but that didn't help. It seemed to come about due to dragging edges around, clips overlapping at some point, and happened while I was untangling the mess I had made by forgetting I had a whole bunch of grouped clips in my take lanes while I was editing. What is this and how do I undo it and just get it back to a normal bit of audio in a clip? Here's a link to a screencap of it on my Google Drive: Clip with a hollow center As you can see, the silent part of it shows a full waveform, but sort of with the center hollowed out. I couldn't find any reference to this condition and how to cure it in the online or reference manuals.

No, Cakewalk installs alongside Sonar Platinum and any plug-in that works with Sonar Platinum will work with Cakewalk. The way you do it is just keep your working installation of Sonar, install Cakewalk, which won't affect your Sonar installation, and then you can use either of them. And they'll both be fully-enabled with Session Drummer, Melodyne, every last 3rd-party and Cakewalk supplied plug-in. Of course be prudent as you would with anything involving your working studio and wait until any time-sensitive projects are finished, just as you would with any major software install. Hundreds of people have made the upgrade with no trouble other than sometimes needing to go into Preferences and tell Cakewalk where the Sonar VST's are installed. If you run into any problems with Cakewalk, you will be running a program that is in active development with active tech support rather than one that has stopped development and has no support. (please, the sticky, the sticky, ease their confusion)

This. As a veteran of many live stage performances and shows, I definitely have rolloff, and it's never completely quiet, but I keep my ears "tuned" by having close listening sessions with favorite well-produced albums and songs. Later Radiohead is some very well-produced music with deep and wide soundstages, good instrument separation, etc. What others have said about the bass, can't add much except maybe to say if you have synths that are taking the roles of "bass" and "kick," let the kick take the lower end and carve those frequencies out of the bass track, assuming you still have access to the mix and aren't just mastering in Cakewalk. I always remember that I listened to top 40 radio through the speaker of a small transistor radio when I was a kid, and I could still hear all of the instruments on that 2" made in Japan driver. David Essex' "Rock On" sounds killer no matter what you play it on, and most of the song is Herbie Flowers' double-tracked bass. So perception of "bass" doesn't necessarily depend on hearing the booooom, although it should be present when played on a full-range system.

Why? Cakewalk by BandLab is better.

For anyone intrigued by the idea of getting 87+ plug-ins that you mostly can't get anywhere else and heaven knows how many loop and sample packages, I found a place selling the latest single issue for $3.99. https://pocketmags.com/us/computer-music-magazine Oh, and you also get to read the magazine, which, as pointed out earlier, is typically packed with enough interesting and useful information for a year's worth of bathroom breaks, train rides, waiting rooms, etc. This includes tutorials (with videos and downloadable audio files) on the plug-ins themselves. To quote Starsky and Hutch, "Do it."

Great-looking theme! The ProChannel elements especially look fantastic.

The non-destructive normalizing is BIG. I don't understand how normalizing got to be destructive in the first place. I'm used to everything being non-destructive. The adjustable selection is something I would use constantly if it were available. Audacity, Vegas, they are both a joy to use because of this feature. Makes editing go so much faster. In my mind, it would work similar to adjusting the Loop markers. Thank you Mariano.

They're not giving access to the oldies anymore? When I did it, there was a folder kind of tucked away labeled 32 that had some older ones, not all of them 32 bit. When I did it, I got access to all of the plug-ins and utilities that were custom made for CM. I didn't get access to things like Cakewalk Home Studio or Bitwig or whatever one-time giveaways came with only one single issue.

You can use Memorymoon and ME80 wherever you like, and as a matter of fact very few of the bundled plug-ins are locked to Mixcraft. I think the tonewheel organ clone is, but I don't care much for it anyway. AIR's DB-33 is a much superior alternative that may be had for $20 on sale. There is an antique version of Lounge Lizard Session that is also locked, but Dead Duck E-Piano whips its butt as well and is freeware. I have Pro Studio. I love Pianissimo, their grand piano, so just getting that is great, and the Studio Drums can be used in Cakewalk and elsewhere. Another of my favorites is the g-Sonique Psychedelic Tape Delay, which must be heard to be believed. The MIDI recording and editing may appeal to some compared to Cakewalk, and with MIDI it's easy to do work in one and transfer it over. Mixcraft is Rewireable, as far as I know.

Just buying a single digital issue of CM gets you an amazing cornucopia of plug-ins, loops, and articles for under $5. The lite version of Unfiltered Audio's G8 is excellent, so is the Meldaproduction CMHarmonizer, and the issue I bought was something like 3 years ago, so that's tons more content since then. And yes, if one were to try to read the articles from just one issue, it would take a year, the articles are great and would no doubt advance the way I approach recording and mixing if I'd ever get around to reading them.

Now Cakewalk does not work for Scott, Beserkir! Plug-in settings are all shot, Beserkir! Now we have tempest in teapot Beserkir! (with apologies to Clerks, and to everyone else)

It puzzles me when people spar on word meanings when dictionaries have existed for centuries to settle such issues. "Rant verb: speak or shout at length in a wild, impassioned way." By that definition, I do not believe that Scott was "ranting," as his demeanor in the video, while in my opinion, "impassioned" was not "wild." Unfortunately the discussion about the video has descended to ad hominem attacks unworthy of the gentlemen involved. Scott, I would like to point out that some of the original criticisms of the gentlemen in the forum (which included the triggering term "rant") were based upon the false assumption that it was you yourself who had posted the video here. Once they realized their mistake, most of them, being gentlemen of honor in my experience, simmered down considerably and even sided with your complaints. It would be great if we could get back to the common goal of improving the program we like via feedback. A representative of BandLab is here soliciting such feedback, so let's use that opportunity. Note: to address bug squashing priority, the settings reset bug has come up because a prominent veteran user has brought it up and others on the user forum have chimed in to say that they have also experienced it and are willing to help squash it. The squeaky wheel gets the grease. That's just the way it goes. If these problems were in the developers' faces all the time, they would have fixed them already. One of the tools that a QA staff have for finding tough doggies like this is interaction with and feedback from users who are seeing it, so they need to know everything about the users' projects, systems, etc. Which plug-ins they are using and how is obviously going to be of utmost importance because the bug involves plug-ins. And BTW, I, as a veteran of the software industry, can say that if anyone thinks they can tell a programmer "all my plug-in settings flat-line when I exit and restart the program" and they open the code and start looking for the bug, that is NOT how it goes. A programmer, or really, anyone else who is trying to fix something, is usually going to approach fixing it by observing the defect in action. One of the BIG reasons for this is that when they start trying to apply fixes, they need to be assured that their fix worked. With intermittent problems, that is really difficult. Scott has something valuable to the QA process, a system/project that exhibits the defect regularly. If they could send him an instrumented build or something that would probably really help, but at this point I think he'd not be up for it.

Hmm, I might start doing this. A better solution might be to just go into the Plug-In Manager and exclude the VST2's that have corresponding VST3's. More tedious, but perhaps more bulletproof. I have to do it anyway for some plug-ins that don't follow the spec and show up twice in the Browser.

That is an interesting theory. Like a "race" condition in programming? One of the things that I've run into time and again in my software QA career, both as a pro and as member of various beta programs, is that developers invariably test and repro on their own incredibly high-spec systems, whereas we mere mortals are still using Core 2 Quads, or maybe a spinny drive, or we're tracking projects with 10 drum mics or whatever. Yes, Noel is a recordist, he goes into the field and does projects, but not with clunker hardware that he's saving up to replace or upgrade a bit at a time. And is he recording metal like Scott? Does he have a friend like I do who likes to hit the vape stick, put on the cans, and literally, loop 20 takes on drums until he finds his groove? That resulted in 80 clips, all of which he kept sitting in the lanes until comping time rolled around, in case we needed something from one of them. Which was his right. On QA teams, they always put the new person in charge of "low-end testing" where they would have to maintain one computer at the lowest advertised spec and go through the agonizing process of testing the program on it. And then be present for the product manager's arguments with the programmers about whether or not we should raise the lowest advertised spec. Programmers: yes. Manager: no. But that's one cause I have observed for bugs like this happening in the field more than in the office. Diversity of hardware.

Thank you for developing your opinion more and giving some background. I suspect you are correct, Scott is probably bitter. It looks like with his videos and even a demo song included with the early versions of CbB, he figuratively and literally had invested a lot in Sonar only to be faced with the Gibson announcement in November 2017. I encouraged him to give CbB another try after he ran down a list of what he considered "killer" bugs, some of which I knew to be long gone. I don't know if this fiasco happened after that, if these were new ones he found or what. If so, I suppose I'm partially responsible for this. Whatever, if Cakewalk were to work satisfactorily for him, he would probably endorse its use, no hard feelings. People who let their anger out tend not to keep it seething inside.

This threw me for a moment when I was reading this thread, but then I tried what you were doing. I hadn't realized it, but in the Inspector, the Track Name does more than just display the name of the track, it is actually a button. When you click on it, it pops up a context menu that lets you select which track, bus or hardware output you want to display in the Inspector pane. This is kind of trippy to me, I thought the Inspector always showed the track you had selected in Console or Track view. You may also lock the current track, bus, or hardware output in the Inspector pane so that it can't be overridden by selecting a track elsewhere. I can see the problem, though, he doesn't label it in the illustration as the Track Name Control, so when you read it, WTF? So much to be learned by reading other people's questions and answers here on the forum.