Starship Krupa

Why on earth are you still bothering with a program that obviously isn't working for you? If I were experiencing only a few of the issues you describe, I wouldn't spend another day beating my head against a wall. The world has too many DAW's in it to waste time with one that harshes your mellow to that degree. Even if the answer is budget, there are plenty of options for under $100. Waveform (Free), LUNA, REAPER, Mixcraft (wait for a sale), Studio One Artist....try 'em all.

Have you tried it in a test project? I just did and here's how it worked: I started with a Simple Instrument Track, panned it 70% left, added HY-Filter4 Free (all to make sure I could hear the results). From the Synth Rack, I made sure that "Unload Synths on Disconnect" was selected, then I froze the synth. Then I deleted the synth in the Synth Rack. This left me with a track with the bounced audio from the freeze, with the original FX bypassed and the FX and panning baked in. Also the MIDI track, and no synth in the rack (and of course none associated with the MIDI track). Fur schitzengiggles I unfroze the track and it deleted the audio clip. The bounced raw audio from the clip was intact in the project's audio folder. It took longer to type than to execute. From what I can parse in your posts, this sounds like it meets all of your criteria.

(incoming jibber jabber alert) I hear ya on the related software part. I think that's why so many people initially advocated for BandLab to continue to keep selling the Cakewalk, Inc. standalone plug-ins. Then the free license for the DAW would have been easier to understand. The weirdest thing about the MeldaProduction model is that they sell (and I own) a license that includes "Every plugin MeldaProduction has released (and will)." So unless they ever release something that's not a plug-in, they've lost me as a paying customer. Their biggest fans, their most loyal users, their deepest-pocketed customers will naturally wind up with that MComplete license. The only way I could give them money if I wanted to would be to buy duplicate licenses. I'm of no use to them whatsoever except for word of mouth advertising (which, TBF, I'm pretty good for). Maybe that's the idea: create an army of MMoonies to pester other people into trying them out. ? Reverend Moon himself had his followers hand out flowers as a way to get people's attention....wait, this is getting scary.... Anyway, as a Cakewalk user and given the product's history, I hold no expectation that a software company will survive forever. When I spend money, I have to know that I'd still be satisfied if product development froze forever the next day. I have to take it on faith that there will be a way to keep them authorized, but that goes for most bits of software these days. The business of selling things isn't as simple as making an item and then selling it for what it cost to make it plus enough profit for everyone to get paid. Ever since the "give away the razor at cost, make your fortune selling blades and shaving cream" concept got traction, entire industries like television being supported by nothing but advertising, stock price being the product instead of the actual product....it's complicated, things are intertwined. Has the brand recognition that the BandLab has gotten from the Cakewalk IP purchase paid for the acquisition and subsequent developer salaries for the past 6 years? No idea. I used to think that Cakewalk was like BandLab's free tote bag. Maybe it was/is and they now want to use tote bag sales to look better to stock analysts. Was that always the plan, rebuild the product's reputation and then start selling it again? Who knows except for BandLab? "Loss leader" has been a marketing concept at least as old as Gillette's razor blade gambit. Warner Bros. Records had a line of loss-leader compilation albums as far back as the 1970's. Sell one product at cost to sell other others for profit. MeldaProduction was an early adopter of loss-leader marketing for plug-ins. They made 20 plug-ins that people could use for free, and they were top-quality ones, not minimalist or feature crippled (although you can pay to add some higher level features). Free plug-ins still had a stigma (which Melda had a hand in eliminating). Now it's commonplace for top tier manufacturers like iZotope, Native Instruments, A|A|S, IK Multimedia, Kilohearts and Waves to give away fully-functional plug-ins as a means to advertise the paid products. And it works, even on cheapskates like me. I've spent hundreds of dollars on Melda, iZotope, A|A|S and IK products as a result of trying their loss leaders and being impressed. MeldaProduction's plug-ins have gone from something that you'd have been embarrassed to let a paying client see, to not-so-secret weapons that, other plug-in manufacturers have endorsed. Gee, if you can make head or tails of that plug-in, you must know what you're doing. That's why I don't hold the view that when people bought those lifetime upgrades SONAR licenses they got nothing in return. If they hadn't done that, the Cakewalk IP might not have seemed as attractive to BandLab. Noel and Jon and Ben and Morten and Jesse and the rest might have been on the job market sooner and less likely to be available to provide continuity, etc. If it helped prop up the value of the IP, maybe that kept it out of the hands of Corel or MAGIX.? For sure, the lifetime SONAR licensees didn't get what they thought they were paying for, but they didn't get nothing. Even for the ones who immediately switched to another DAW....who is it who pays for this forum to exist? How much money have people saved on audio software purchases as a result of this forum? They even allow us to post and discuss deals for competing DAW's. WTF? The established userbase is a big part of what BandLab wanted when they rescued the DAW. I'm glad that so many people have stuck around the forum despite moving on to other DAW software. It's all too complicated to figure out from my perspective, just armchair quarterbacking. Sonar will be great, we're lucky to have alternatives at whatever price point or licensing model we want, I envy us. Whatever jibber jabber gets spewed, whatever we thought BandLab promised, Cakewalk by BandLab is still available and free to use. We don't know for how long, but we never do.?‍♂️

So when you say "froze," you mean you did that to your audio tracks? Instrument tracks can be frozen, too. When an instrument track is frozen "Cakewalk bounces the synth’s audio data to the synth track. Cakewalk disables the synth’s output, and disables the FX Rack on the synth track." (p. 1007, Cakewalk Reference Guide). This won't have exactly the same effect on RAM usage, as the effects are merely bypassed and the synths merely silenced, but you'll probably find (as I have) that having everything just sitting there doing nothing will use fewer resources. It will be as if the frozen track is "paused," and I don't know about you, but my Performance monitor settles down when a project is paused. Anyone recording audio and freezing synths should know about adding exclusions to Windows Defender's realtime malware scanning. It's in Windows Settings in Virus and Threat Protection. Add your Cakewalk Projects folder to Exclusions. There are others that are both safe and desirable to exclude, but I'll leave that up to you to decide.

Weather Reporter Waggoner Rip Rig + Panick Drake Earth Wind and Firefall

You're still using Cakewalk, though, right? Me too. See what happens when you look back? If you never look back, it grants you the right (and compulsion) to comment on any YouTube video or Reddit thread about a competing product, saying that once you tried your current favorite DAW.... If your new fave is REAPER, and the competing product has a free license, such as CbB and Waveform, you are also granted the right to mention the super-secret fact that REAPER is virtually free to use because once the trial period is over, you only need sit through 45 seconds of nag screen every time you start it.

Ah, so they could follow Audition's lead as currently the only subscription-only DAW? If I were launching a DAW and trying to decide whether to go subscription-only, I'd definitely take into consideration that Audition's licensing policy has contributed a great deal to its current position in the DAW market.

Providing a supported and regularly updated and feature upgraded version at no cost for 6 years has exhausted your confidence? In what? Exactly what happened with your lifetime SONAR purchase? Everyone else I know of, the software continued to function just as it had when they purchased the license, and then later on, the program was picked up by a more stable deep pockets corporation who issued a version that was 100% compatible, free to use, and continually improved upon for over 5 years. Both Gibson and then later the new company have been diligent about keeping the legacy SONAR download and licensing servers functional since the old company ceased to exist. The new company has even spent programming resources to update both the servers and the Command Center to ensure that people who purchased SONAR licenses will be able to keep using it (despite it effectively being a competitor to their own version). I spent years in the software industry, and there's nothing in this scenario that would erode my trust in BandLab. Since I've been paying attention, the one misstep I've seen them make is announcing Cakewalk Sonar and Next too early. This mistake has so far not impacted my day to day use of the program. Sonar is dropping the Theme Editor, a favorite feature of mine, but in place of it, the new UI is shaping up pretty well. Yes, this is a good idea. Anything can happen with a software (or any other) company, as witnessed with Gibson dismantling Cakewalk, Inc. on its 30th anniversary. You have firsthand experience with this. Always have a backup plan. Especially if you use the software to earn a living. There are multiple quite good DAW's with similar feature sets to Sonar's. Licensing starts at "free" and goes up from there. My recommendations for DAW's that would have the easiest learning curves for longtime Cakewalkers would be Mixcraft and Studio One Artist. There are also other options in the $100 and under price range. Heck, even a perpetual license for Studio One Pro is now under $200, and with that they toss in a year of their top tier subscription bundle. Once I would have agreed with most of what you say here, and maybe I still do, but then Image Line and MeldaProduction had to go and mess up my theories by flourishing.? Of course, wide adoption doesn't necessarily mean that the company isn't going broke getting it, but in this case I'm just going to throw up my hands and admit that the owners of Image Line and MeldaProduction (same, actually, for a while now) know many things that I don't. What would I do if MeldaProduction went casters-up tomorrow? I would continue to be happy using their products as they are now. It's not as if they need to add more features. Finally, someone posts something original! I do hope that you intend to go into more depth about this. All we need to make this topic complete is for someone to randomly mention that REAPER just got another dot release and that it's still only $60 for personal use and that you can even use it for free, and then for someone else to point out that you can't actually use REAPER for free unless you want to violate the license agreement, then yet another person to mention that they tried Studio One at the time of the Gibson debacle and never looked back. (BTW is "looking back" a common practice when switching software programs? People who change primary DAW's often mention that once they switched, they never "looked back," as if that's notable.)

The issue went away as mysteriously as it appeared. And yes, I searched my system multiple times for files named Untitled Project*.*

Tippercy Faith No Moremon Tabernacle Choir Train Baja Marimba Band of Gypsies Midge Uriah Heep Trans-Siberian Railwaylon Jennings Randy Newmanhattan Transferlin Husky Smashmouth and MacNeal Foreignervana

Thin Lizzy Z Top Little Richard and Linda Thompson Twins Al Green Dayvy Jones Robert Crazy World of Arthur Brownsville Stationtouchables Chuck Berry ManiLow Barry White Stripes Jean-Luc PonT-Bone Burnett Eyehate Godley and Cream Rezillos Lobos Ministrini Lopez

The Bapinator seems to be going for more of a Transporter Accident thing than portmanteaux, but no less entertaining for that.... One of the reasons I love these is that my brain treats me to (or inflicts upon me) a vivid mental picture of the artists in the name sharing a bill, or even sharing the stage and/or a repertoire. Which makes ones like "The The Band" or "King Crimsons of the Pioneers" or "Desi Arnazareth" kinda convulsing. "This is the daaaay stage fright will surely reign....." "Call her moooonchild, riding through the canyon on a pony. Moo moo moo moonchild...." (Lucy, hoping to get invited to her uncle's estate in Scotland, tries to get her cousin's hard rock band a gig at Ricky's club) Ricky (staring at sheet music): "Loosey! What are this lyrics? Who rice stuff like these?" Ricky (raises eyebrows): "Nau. Yoor. Maissene weeth....a sone off a BEESH?" (ha ha ha ha ha ha ha) Ricky (puzzled): "They trynoo ged a tan or sumtheen." (ha ha ha ha ha ha ha) Lucy (glares): "As if 'babaloo' is any better." (HAA ha ha ha ha ha ha) (Fred and Ethel enter) Fred (points thumb at Ethel): "Hey Rick, look what I found bobbin' in OUR loo just this mornin'!" (grooooan) Ethel: "FRED!"

Kiki DEVO Public Image Limited Nugent and The Amboy Dukes of Stratosfear Wham!eric Carmentors Ke$ha Na Na Bronski Beat Farmerzbow Wow Wow Bananaramon Düül IIpac Shakurtis Stygers of Pan Tangerine Dream Syndicate Doris Day Glo Abortions Shriekbackstreet Boys Green on Redbone Shocking Blue Öyster Culture Club Tinderstyx Cockney Rebel Biv Devoe Soft Machinea Easton Rick James Gang

A favorite game of Frontier Records' staffers back in the early 90's. Slap together as many musical artist names as can share syllables or words. The more incongruous the better. The more names stuck together the better. I will get the ball rolling with the following examples: Ice Tijuana Brass Spacemen Three Dog Night Ranger R.E.M.inem St. EtienneRBQ White Zombie Geesus And Mary Chain Gary Numanfred Mann and the Earth Band Neu! Christy Minstrels Led Zeppelinda Ronstadt Einstürzende Neubauten CC The Whotie and the Blowfish Genesisters of Mercy Robert Craydle of Filth Duran Durancid Juliana Hatfield and the North Chicagorillaz Sergio Mendestiny's Child King Crimsons of the Pioneers Camelton John Steely Danzig Moody Blues Traveler Le Tigretful Dead Sun Ramones Carole King Diamond Cansas Babystie Boys II Men Without Hats Abbaha Men At Work Napalm Death Cab For Cutina Turner LaBelle and Sebastian Liz Pharoah Sanders Gang of Four Tops Olivia Newton John Coltrane Van Haleonard Cohen My Bloody Valentiny Tim Radiohead East George Bensonic Youth High Llamastodon Jethro Tulrich Schnauss Thomas Dolbeach Boys Captain and Tennille Young Husker Doobie Bros. De La Soul Asylum 'n' Abner Anvillage People Mister Mr. Big Black Sabbath Desi Arnazareth

You mean Aretha? Nothing anyone (least of all I) could say would diminish the great artist, at worst, as it did in my case, it would only serve to reveal an ignorance.?

There is a topic on it in the Deals subforum. I haven't tried it yet, but current scuttlebutt seems to indicate that it's better suited to audio recording than MIDI note entry/editing.

Nor are Tonex and MSuperTrouper intended for "mixing task[s]," ye of little faith in my imaginary YouTube's sayers of sooth, baiters of clicks.

? I only ever bought one Foghat album, but the one that I did was on 8-track. My first Zep album was Physical Graffiti. I don't remember the first rock album I ever bought with my own money, but the first one I ever owned was the Yellow Submarine soundtrack album, which was so under-the-radar subversive that even The Beatles didn't realize what they were unleashing.

With some careful bouncing/freezing of tracks, it might be worked around. Go freezy-bouncy, then export stems, bring it into Sonar or your DAW of choice to unleash your vast collection of plug-ins for the mixing/mastering phases. Besides, I saw this YouTube video where a guy with his eyes open really wide said that the one secret that nobody will tell you is that your DAW's stock plug-ins are fine for any mixing task.

Oh indeed. And from a technical standpoint, the playing and production are almost universally top notch. (jibber-jabber are GO) I was living in South Carolina and then Arkansas during disco's heyday. Although I did like a lot of disco, my dirtbag credentials are impeccable; my first concert was Foghat (on the Fool For The City tour), with Head East. So I get why my heartland American buddies despised it. You did NOT want to admit to any male peer that you liked any disco song. But the Bee Gees' dance hits from Main Course through Spirits Having Flown were (and remain) great, and I thought The Village People were hilarious (in a good way). KC and The Sunshine Band, excellent stuff. One of the reasons disco was hated by so many of the youth of the time because it was an urban phenomenon that was foisted on the entire US market. It didn't speak at all to the lives of most of the kids in America and it didn't have the flights of escapism and anglophile exotica that prog had. No doubt, the A&R departments (based in urban areas) encouraged their established artists (also by that time based in urban areas and wealthy due to the amounts of cash that were rolling in starting in the 60's) to "go disco." The music was meaningful to their coked-out rich person lifestyle. It's no coincidence that the infamous "Disco Demolition" took place in a baseball stadium in the midwest. Of course, The Village People have the last laugh, as "YMCA" is now played at ballparks. It was also a highly produced form of music that none of the kids could aspire to making themselves. By the time it made its way across the country, it was a highly manufactured product, and the artists who were making it weren't relatable to the kids. Very telling that the next big thing after it was punk/new wave/post punk, which was rougher, simpler music that spoke better to adolescent angst and that kids could aspire to actually make themselves. So was the next wave of dance music, one of the biggest artists, Prince, literally did make it himself, and by that time, underground artists in Chicago and New York were taking their parents' old funk and soul records and turning them into something new. All this is my pop culture geek theory, anyway. It did suck, but not because it was somehow inherently inferior. It sucked because it was oversold and it didn't speak to a large swath of music consumers. Here's one for 22nd century Jeopardy!: "Disco, New Coke, VST3, software subscription licensing" "Ummmm.....what are things that consumers resented having foisted upon them by arrogant corporate executives?"

I used to use an un-modded RA-100 to drive my passive Event 20/20's. Then I happened upon a couple of broken vintage power amps, notably a Crown D60. I got the D60 working and hooked it up. The difference was stunning. Astonishing. Up to that point, I had hand-waved solid state power amps as sounding pretty similar. (full disclosure, I am the designer of a couple of boutique tube guitar amps). No way, no how. The stock RA-100 sounded constrained, like the stereo field was contained only to the width of the monitors. With the D60, it extended at least a foot on either side, and the center detail was much improved as well. This piqued my curiosity, so I studied the schematic and service manual, which came with a theory description. Details are in this post on GroupDIY. The mod can be done with a pair of flush cutters, doesn't even require turning on a soldering iron. So don't bin the RA-100 and Tannoys (assuming you haven't yet), they may yet be useful if only for referencing or as a bedroom or workshop listening system.

In order to help, we'll absolutely need to know what interface you're using, make and model. Then we need to know what settings you have for Audio/Driver Mode and Audio/Driver Settings/Playback Timing Master and Record Timing Master. The ideal situation is that you have an interface that has a manufacturer-supplied ASIO driver, and you're using that driver. Less-than-ideal is that you're using WASAPI. No-no is that you're using an interface that has no native ASIO driver and you're using a "wrapper" driver such as ASIO4ALL, or the Steinberg Low Latency driver or the MAGIX Low Latency driver. That's a recipe for hassles. If you're using WASAPI, it is known that the timing is not precise with overdubbing. What does that mean? 2 what? 2 samples? 2 taps on one of the nudge keys? Technically, all issues start after some update or other. As long as you've updated your system at least once, that is. What's important is that you're having an issue now, and barring time travel, fixing it now is what you need to do.

Compared to....?

What is about the MDR-7510's that makes them not suitable for this use going forward. I really like my Sony MDR-7506's. What others have said about the Sennheiser HD 200 series cans is true. I have a set that I use for drum practice, just for their isolating qualities.

I stand gratefully corrected. Aretha 4ever. I fell into the "I've never seen her do it, had no idea" trap. I'll add another "who can say?" category for people who are known for one thing but can absolutely rip on an instrument. Johnny Carson, Peter Sellers, Fred Armisen (what is it with comedians and drums?), Charo.... Ozzie and Harriet were a bandleader and a jazz singer before they had a sitcom. One of the sitcom's surreal elements was that to my knowledge, they never revealed what Ozzie did for a living: he was a bandleader between tours.