Starship Krupa

At this point I have about zero interest in gaming. I'm not saying that won't ever change, but I guess if it does, I can always save up and buy a swoopamatic 3-D card. One thing that has always befuddled me is how the graphics card companies sell cards of similar specs and architecture as "workstation" cards or "gaming" cards, but the "workstation" version will be 5-10X the price. I guess what I want for my uses, DAW, video, photo editing, and general desktop, is a solid workstation card, and it doesn't need to be anything magic. The HD4000 built into my chipset works fine, but the quality of the graphics is just dire. Blurry. Fuzzy and indistinct compared to the AMD on my other workstation and the nVidia in my notebook. I'll give the Quadro FX 580 another chance before I buy another card. Now that TELEMETRY!!!! has had a chance to work its mysterious magic, maybe it will work, who knows. It was an optional upgrade to the Optiplex when it was new, so it should be compatible with the hardware. It worked a treat under Windows 7, I even had one monitor plugged into the HD4000 and the other into the Quadro at one point just to see if it would work, and it did.

As far as preamps go, I'm kinda surprised to see all this weenie waggin' over built-in ones. I thought that the "common wisdom" was that you never track anything critical with just the interface's built-in preamps. If you don't stick a Manley or a boutique clone of a Neve strip or something in front of it you might as well not even bother, right? Something with tubes, a transformer, preferably both? Of course, that's also "common wisdom" about stock plug-ins, and Cakewalk comes with such good-sounding ones that I can't resist using them! I do hope to one day build a nice mic preamp for tracking vocals. I assembled one for a client from a kit and the thing sounded amazing. Transformer and JFETs.

One would think so, I know, I know. And go ahead and write me off as an audiophool for what I'm about to claim, or say that it's placebo effect, BUT. I was setting up VLC Player on this plastic RCA tablet I got at Wal-Mart for $40 that has one built-in speaker for playback, and fiddling around with the deep settings and found this one that said OpenSL ES, and I don't even know what that means. But I selected it, and restarted the playback, and the difference in what came out of this ridiculous recycled cigarette pack wrapper cone 1.5" speaker, not to mention what has to be a pretty nasty DAC wasn't even subtle. Clearer, better transients, more intelligible, rounder and tighter bass.... Speaking of which, I've also been dismayed to notice differences in playback quality between different music players on the danged thing. This is using my cheap bedroom Sony headphones. Best so far is Black Player. All I can figure is that they are just really good at getting those ones and zeroes to the DAC in an orderly fashion without doing anything to them on the way and that the other players I tried are less so. I am a skeptical person and believe me I wish that it were not this way, I would much prefer to have listened and come to the conclusion that all FLAC's played on my $40 RCA tablet into my $20 Sony headphones sounded just the same through any music player, especially that VLC couldn't be topped. Long way to get there, but my point was that the "bottleneck" idea doesn't apply to audio. A well-played, well-recorded, well-mixed, and well-mastered record is still going to sound better through the tin(n)iest little speaker. The Beatles took over the world 55 years ago making records that sounded great through really crappy reproduction equipment. Japanese transistor radios, when Japan's manufacturing quality was, in general, worse than China's is today. "Nights in White Satin" blew me away on my friend's clock radio in 1972 hearing those soaring strings and wailing backing chorus. This all came across on a single nasty 3" speaker in a plastic enclosure that also contained an electric clock mechanism. I know that the fact that the Moodies' recording was so good to begin with made a difference, even down to using great tube mics to capture the vocals.

Josephine Blowsephine is happy editing video with Vaguest 7, which runs just fine on her system. Tragix offers her a free upgrade to Vaguest 10, telling her that it will run just as well on her system, but be more secure and have more features, and besides, they are ending support for Vaguest 7. Josephine says what the heck and downloads the patch that will upgrade her system to Vaguest 10 and fires it up with some anticipation. Only she finds that it doesn't run just as well on her system, it's incompatible with one of her video cards and weirdest of all, her housemate and kids start complaining that Netflix and Amazon Prime aren't streaming very well, although her flat has Gigabit fiber. Josephine hits Google and finds out that Vaguest 10 has a feature where if it finds a fast enough Internet connection, it will go out and attempt to form a processing farm with other Vaguest 10 systems to share rendering duties. She also finds out that Vaguest Pro 10 has an extra admin control panel that allows the user to disable this feature, while plain Vaguest 10 does not. She also finds a procedure that will allow her to enable the extra admin control panel on the plain Vaguest 10 edition. She performs the procedure, enables the control panel and uses it to turn off the new, unwanted feature that is messing up her system and preventing her from getting full enjoyment and use from the software. Should she feel "relieved," "3733t3," "legit," or "2legit2quit?" Or is it better if she works on being less concerned with how she should feel and just feels?

12-sided Dude! Now we're talkin! I didn't know that Pricewatch was still around. Party like it's 1999. Buying graphics cards for my trailing-edge systems has been my achilles heel. It's always about "will it play Halo?" I, too am a Vegas baby, still light up my copy of 10 Pro from time to time, so if you say that this pup works a treat with Emily's Optiplex and Vegas and Cakewalk....this info is GOLD. My main system is an Optiplex 7010. It has a Gen 2 Pci-e slot for a video card. I need to drive a monitor with a DVI port and a Display Port and another monitor with an HDMI port, so the card you showed me would work with my Display Port to HDMI adaptor. I lean toward nVidia cards rather than AMD because of past troubles with Mixcraft and general lore in the DAW world. However, if you have empirical first-hand knowledge, that counts for a great deal with me.

Craig, what are your thoughts on group delay? I recently had an experience where I replaced my Alesis RA-100 with a vintage Crown D60 that a client had given me in trade as credit on an amp repair. The Crown came out of the production studio at a radio station and wasn't working when I got it, the 2N2055's in the output, which you're supposed to buy in matched pairs from Crown, had been replaced heaven knows how many times with whatever was in Radio Shack's parts bins, and I put in a new volume pot that didn't seem to have the same taper as its mate on the other channel. I didn't have high hopes for it, but it looked really cool, and I figured what difference is a workhorse solid state power amp going to make anyway. The only issue might have been the lower rated wattage of the Crown. I turned it on and played my favorite test song through it, Radiohead's "Everything in its Right Place," and was floored. I immediately hollered for my housemate, also an audio repair guy, and he listened, was also blown away, and we took a closer look at the service manual for the Crown. It had a description of the design theory, and it included the fact that they had paid special attention to minimizing phase shifts and group delay issues. I've not studied the schematic for the RA-100. For all I know it could have a couple of chip amps in it. Given Alesis' reputation and philosophy of delivering value for the money, it probably does.

Drag. Maybe "j" will take pity and give you a refund on the license? Or credit it toward https://jstuff.wordpress.com/cmah/? Are there still new DAW's that don't come with 32-64-bit VST wrappers? I got in the habit of avoiding 32-bit plug-ins unless absolutely necessary because Mixcraft's wrapper incurs a lot of overhead. There are some, though, that are irreplaceable. Mostly in the VSTi category. What was a bummer was that one of the most popular tool for small plug-in developers, Synthedit, would only build 32-bit plug-ins, so I would see some free or low-cost plug-in announced at KVR only to discover that the neato cassette tape harpsichord or whatever was built with Synthedit and therefore 32-bit.

'cab, the PDF is out of date in that it doesn't include the last 8 months' features, right? I'm trying to think of anything that works differently. Double-clicking a MIDI clip now opens the inspector by default, that's all I can think of. Something that I find odd is that the online documentation still tells how to enable offline help, down at the bottom of every page, even though it doesn't work, at least on my systems.

I haven't yet, but I did hit the button that turns off all the effects. What I am doing is systematically deleting those lanes and watching what happens with the response and with the Resource Monitor action. As I say, still working on it. Thanks for the idea on freezing, I'll have to go back to an early version of the project and give that a try. It would be interesting to see what happens. If the problem really is that it's dragging around too many unused takes, if freezing affects it. Geoff is a take-a-holic, that's for sure. I have sat him down at the kit and gone back into my shop to work on amps and he's bashed away, I go back in and there are 25 takes of drums piled up, and he wants to keep them all "for comping." That's 100 lanes! Good thing I only use 4 mics! But people like that are great for testing the limits. I'm forever asking him "can I delete these??" It was a real hoot with Mixcraft, which doesn't have collapsible lanes.

Anyone here ever checked this site out? Sample rate conversion analysis Our favorite DAW looks pretty good. I dutifully ran all their tests and submitted the results from Mixcraft 7 some time ago but they never put them up. I will say this about sample rates and conversions and all that: just as a rule, I believe that the fewer operations performed on the material the better. This isn't yet one of those debates about "whether humans can hear the difference," but it is my belief that in the decades to come, research will reveal that there is a lot more information that we are able to take in via the sense of hearing than previously understood. Specifically that there are other kinds of perception than just frequency and amplitude. I am a huge skeptic when it comes to audiophool stuff, yet I have been moved to tears by hearing the difference between two audio sources that "experts" would say I shouldn't be able to tell the difference between. I also suspect that not everyone has the ability to hear at the same level. This would make evolutionary sense, as the ability to hear with greater acuity, especially directional and higher pitched sounds, and respond to them quickly, would be a trait that would make for a higher survival rate in environments with certain types of predators and prey. When I listen to MP3's at lower conversion rates, they sound like they "have the corners rounded off" "smeared transients," and my hearing, at age 57, after playing in punk bands.... How Sir George Martin could still make good mixing decisions well into his '80's, even though his hearing had to have been pretty shot....I can pick tiny little metallic "tings" out of a dense mix where a piece of drum hardware hit another piece, and go in and solo tracks until sure enough, there it is. I'm sure you all can, too. There's phase distortion, and a thing that I never hear discussed, group delay. There's more going on than we're measuring for today. More than we're able to measure for. It will be exciting to see, if we learn about it in my lifetime.

Steev, you should have your own subforum on here! You da MAN!!! Nobody's gonna stop that Microsoft telemetry!! The weenie wagging in this thread has been ferocious and hilarious. I've lost track of which audio interfaces are supposed to be the best and which way we're supposed to connect them and everything, but it's awesome. I'm gonna plug my Hocus Pocus by Focus Rite in to my PCIe USB3 Thunderbolt and Lighting very very frightning Galileo PC Manic Depressive fiber optic Window Pro Insider Telemetric Eccentric Octopreamp and then go into the mountains and meditate for a year while my computer stabilizes itself, and then after that my latency is gonna be so low that I won't be able to software monitor because the damn cans will be playing what I'm about to play before I even play it! I'll have NEGATIVE LATENCY!!!! It confirms my belief that I made the right decision when I bought a pair of Presonus interfaces that were already obsolete when I got them from a guy on Craig's List a couple of years ago. He dropped one of them when he was pulling them out of his storage container, so I got him to knock $20 off the price. It worked when I got it home though. They connect via Firewire 400. I use the built-in preamps. When I was running Windows 7 I could get them to go down to 2ms without going "brrrrrt." Mostly they stayed at 4ms. My system has settled down since I first pulled an older nVidia GPU that I suspect of having drivers that were too old for Windows 10, and second, turning off Defender's realtime scanning. I want to find an inexpensive replacement for the nVidia, because now the graphics look like poo. Unfortunately, graphics cards are all about 3-D performance and pay no mind to 2-D performance, which is what I am most interested in. I figure the humblest $30 card should be fine for my aging Optiplex, but I don't know what to get. As for Cakewalk I've been studying that Play lag thing in greater depth with the help of Resource Monitor. It may have something to do with my settings when I'm tracking projects with many takes like my friend Geoff was doing when he was here over the holidays. I don't want to go into great detail just yet, but this one project of his wound up with 12 tracks. However, each of those 12 tracks had as many as 10 takes that were still sitting there with their lanes muted, clips muted, whatever, in case he changed his mind about comping. When we hit the spacebar to start the transport, Cakewalk (I could see this via Resource Monitor) started streaming audio files that were only in muted lanes and clips. I'm not sure it's supposed to do that. Either that or I'm not sure that Geoff was managing his unused takes correctly. I'm still experimenting with different settings and observing the effect on performance. I will report my findings to the forum when they are more fully found.

I am also interested to see the current state of the Harmony guitar and amp lines, Teisco effects, etc. There's enough more meat on Cakewalk's bones since it was known as Sonar to earn it cover stories on the applicable magazines, and I bet there's enough interest, people want to know how it's working out under the new ownership. Hoping there will be at least a few major articles. I'm rooting for Computer Music, 'cause I like all the free stuff you get when you buy a copy.?

Thank you, Mal and Larry. This is what I meant. I didn't want folks to think it was a matter of just flipping a switch. You guys both researched it, one of you came to the conclusion that it wasn't even worth the hassle. ? Larry, that procedure looks like the one I followed, too. A lot of command line typing from an elevated prompt? Some people will weigh the cost:benefit ratio and come to the conclusion that Larry and I did: why not enable this feature that gives me more control over my Windows 10 system? Some people will not want to bother or believe it to be a risk. I'm a hobbyist with 3 computers that all run Cakewalk. If I hose one of them, no biggie. I unplug one of the Firepods and plug it into the notebook. But I know there are people on here who depend on their DAW systems for more than just personal enjoyment. Who knows, Microsoft will probably disable our access to GPSEC in a future update anyway. For now, my hard drives sure are a lot quieter without Windows Defender constantly sifting through everything on them to make sure my synth presets aren't infected with viruses. And I can still run Defender as an ad hoc scanner. Feels good to use my computer the way I like to.

If you go this route, you can even do it via the site that gives Cakewalk by BandLab its name, as export/upload of stems and mixes directly to your BandLab account is now built in to Cakewalk. I haven't tried that workflow out in production yet, only testing. Still doing it like Steve suggests, using Google. I know that the export and upload part goes pretty smoothly (from one of my systems, at least), but I haven't yet had my long-distance collaborator try to pull stems down from BandLab's site to work with them. Once we get it working, I'm hoping that it will make for a more controlled system than how we do it now. We've had the occasional issue with version control, where we lost track (ha ha) of which revision he had sent me. I take care about file naming, him, not so much.

Apologies for apparently coming off as arrogant or secretive. I "bothered" to let people know that it was possible, and suggested they check out how to do it via a common search technique. I didn't think it would be responsible to post a link to a specific recipe as it involves doing things that are deliberately obscured by Microsoft because people can mess up their systems using Group Policy Editor. If you Google how to do it, you'll find a variety of techniques and may decide for yourself which one you feel comfortable with or even whether you want to fiddle with it at all. I mean, if you think I'm lying or something, check it out: Evidence!

Two things: 1. you don't need to be running Windows 10 Pro to be able to turn things on and off with Group Policy Editor. I learned this just recently. Group Policy Editor, along with other old admin tools friends of mine, comes with every installation of Windows 10. It's hidden, you just need to know the recipe to gain access to it. Kinda like the PX-64 and VX-64 in CbB. I shall leave the rest to the Googling pleasure of those who are interested. 2. Whistlekiller, Chris, anyone else who is planning it for the eventuality of running CbB 2020 Build 30 on Windows 8.1 on their trusty Dell Inspiron after global warming has caused sea levels to drown BandLab's server farm....I'll share this trick I used when I was still an IT pro and we were prepping our infrastructure for Y2K. Anyone remember Y2K? Supposed to be a computer holocaust. Right. Anyway, it's called Setting Your System's Real-Time Clock To The Wrong Date. Yes! To CbB running on a computer that never sees the internet, it can always be Groundhog Day! Or any other day that CbB thinks is within its valid licensing period. Sleep well tonight, your ground uncertain no more.

I thank the BandLab people, and I also thank the people who bought licenses in the commercial software days when it was called Sonar, 'cause their licensing fees funded the development all those years. My first thoughts when I heard about the Gibson announcement were "what a shame, what a drag for the user base," and I don't think it could have worked out better for everyone, the user base has gotten some tight code in the past year in the upgrades, an expanded user base, a future for the platform, a company who seem to respect the brands they acquire. CbB came along just when I was ready to "graduate" to a top-of-the-line DAW with more features than the alternative one I had been using. So I, like the OP, feel charmed. It's been almost a year and there are whole areas of the program that I haven't even touched yet because it's so deep and feature-rich.

And it's not only the first time I launch Plug-In Manager, when I do operations like enabling or disabling plug-ins and it rebuilds the list of disabled or enabled plug-ins, it's now instantaneous where it used to take a while.

Don't I know it, no matter what I do, if I run a web browser on a computer, I will at some point find that the Adobe Updater Service has started up once again, along with its insidious buddies, the Apple Updater and all the iTunes and iPod/iPhone helpers. Kept disabling them in Services, CCleaner, Autoruns, whatever. I finally put on my pith helmet and made my way deep into the recesses of Task Scheduler, where I found the Adobe services, the Google Crash Handler, the Apple Updater, all those sniveling little creeps hanging out not only waiting to start in the wee hours of the morning, but I learned that at some point in the 16 or so years since my certification lapsed, Task Scheduler had gained much wider ability to launch tasks based on event monitoring, such as another process terminating, which is why I'd wind up playing Whack-A-Mole with them: iPod Service was set to launch upon shutdown of iTunes Handler, which was set to launch on shutdown of Apple Updater, which was.... So I sometimes use a utility called Process Lasso. Steev, if he knows about it, probably loathes the very fact of its existence, and will tell me that my occasional use of it is one of the reasons that Cakewalk (besides insufficient RAM, no SSD, not enough Waves plug-ins, and an overall lack of Focusrite) and my system in general wasn't running so hot when I first upgraded it to Windows 10. It's the antithesis of the "DUDE!!! don't touch anything!!! don't even point to it!!! Microsoft needs to tune your system via TELEMETRY!!!" school of thought. Process Lasso allows the user to do some nifty things like set Priority for certain processes and make that stick (for when you're running Process Lasso), as well as designate certain processes to be terminated on sight. So for instance, I can set cakewalk.exe to Above Normal and have it be that way whenever Process Lasso is running. You can set Priority in Task Manager of course, but that only persists until you terminate that session of the program. I have Process Lasso set to kill all of the Apple crap while I'm doing DAW work and one day I checked its log and witnessed the tale of what had been an epic battle between Process Lasso and Apple Updater. Apple Updater I guess had decided that this time it wasn't going to stay down, and every 20 milliseconds it would relaunch, and in the next millisecond, Process Lasso would send it back to computer heaven. I think it went on for minutes, which when we're talking milliseconds, is a good long battle. Of course, Process Lasso was not going to give up either, and finally Apple Updater ran out of triggers or whatever kept starting it back up. At the moment my system is practically snoozing since I turned off Windows Defender's realtime monitoring. I just looked at Task Manager's Performance display and all 3 disks showed 0% activity while I'm typing away in my browser. It's nice to have a computer that understands the meaning of "idle" again.

Matthew, this is such a great theme that it has caused me to, at least for now, abandon work on my own theme. Yours is like going to theme school. I need to stop and study it before I go any further.

Tracking at 24/44.1 these days. For a while I was recording at 88.2 and mixing to 44.1. I think I decided that it wasn't worth it for the type of music that I do at this point.

I will speak for the n00bz here and mention that while the online documentation is pretty good as documentation goes, there are some areas/pages that need work. I'm especially thinking of this one. Just compare the descriptions of Comping mode and Overwrite mode and you'll see what I mean. Choosing the wrong Recording Mode options can get you into trouble, especially if you choose Overwrite (aka The Mode That Must Not Be Named). IMO, there should also be a more in-depth explanation of why the user should choose one mode over the other and what results they will get. (BTW, if you all know of a Craig article or TOP post that explains the options better, please give me a link) For sure the old site is a treasure chest of information about how to use Cakewalk, and I use it all the time, being Google-savvy. I know there is a way that you can make a form with a site search, and such a thing would be a very handy thing to have stickied here. I'm sure you all know what I'm talking about and one or more know how to roll one up, where there's a search bar you put in your terms and everything? We could make one for TOP. All it does is search with that syntax that David typed out, but instead of having to type it all out, you just put your search terms in the bar and hit Enter. (TOP="The Old Place")

This seemed like the most-requested, longest-awaited feature over at the old forum. The devs not only made an indicator, but a multipurpose button, which is a "wow."

I'm assuming you mean the deal where you have a folder on one or more systems that is automatically backed up to the cloud? Like Dropbox? I was into it for a while around the time Dropbox first came out with it, thought it was cool that my files were showing up on all my different systems, but these days I find myself turning off the local sync part of the services and just using them on an ad hoc basis, where I drag and drop files to the server, and then if I want them, I download them. Having a folder on all these different computers that stays in sync seems kind of meh. I like the Google Docs way of doing it where the app itself is browser based and if I want to work on it, I can do so from any computer that can access the site. This works well in situations like mine where I have multiple computers at home, for basic office suite type apps. I haven't messed with it much, but I guess BandLab's DAW is like this too. Where the cloud storage services shine for me these days is for collaboration. Throwing rough mixes or stems up on MEGA or Box or Google Drive for transfer is great. If BandLab wind up positioning themselves as the go-to site for musicians who want to collaborate, I think that would be a good place to be.

I didn't know that, but I have all of my Windows systems set to log in with local accounts, not Microsoft accounts, and I turn off OneDrive, so it's probably not been happening. I either do it manually or have command line scripts that I run before DAW sessions that shut down all of my cloud storage services (along with crap like iPod Service and iTunes Helper and Adobe Updater and all that) before I start DAW sessions, so again, no Avid iCloud upload. I export his stems and put them in a folder on Google Drive and he imports them into Pro Tools. I guess to you his way of doing it is "stupid," but it gets the job done. Also, we use FLAC, not WAV, for faster file transfer.