Starship Krupa

I have plenty of respect for the man and his work, but I've surely disagreed with him on any number of things. "Heart-Shaped Box" and "All Apologies" (mixed by Scott Litt) were my favorite songs from In Utero. I enjoyed with them and connected with them better than any of the other songs on the record. Sorry Steve. Having a good ear for rhetoric doesn't grant you a good ear for pop music. There was a certain amount of elitism woven into his anti-elitism stance. I knew how we'd probably get on if we ever encountered each other. I tend to be kinda ?to people I think are full of themselves and his quotes kinda struck me that way. Peter, I would love to be disabused of that notion. I used to have a bit of fun trolling the Albini-weenies back in the day, the ones who just worshiped the ground he walked on and couldn't get enough of the gospel according to Steve. You could tell who they were because you'd refer to him having produced some record or other and they'd get this kinda hurt/angry look and remind you loudly that he was an ENGINEER, not a PRODUCER. Ooh, yeah, let's fight about it.?I guess I was an iconoclastclast. I also agreed with him on a lot of things that really fundamentally count to me in the end, and my first thoughts upon hearing of his passing were disappointment that he wasn't going to be around to comment/contribute anymore. The world seems lesser somehow, knowing that he's no longer out there. I wanted him to still be along on my generation's journey. (Generation Jones, that is. 1955 to 1965. Too young for Boomer, too early for X. Brady Bunch, not Leave it to Beaver, and not Eight is Enough, either.?)

Interesting, a sampler inside a sampler. I snagged a serial, but Native Access keeps telling me the download failed.

This would seem to indicate that port speed does matter, which makes me wonder why interface manufacturers have been so slow to adopt USB 3. I can't remember the last time I saw a PC with no USB 3 ports. A dozen years or more, and I am a run-the-wheels-off type of computer user. USB 3 has so much over USB 2 in regard to audio use. Other than the speed, it can also do full-duplex like Firewire. So incoming data (recording) and outgoing data (playback and monitoring) don't have to wait for each other. I've always wondered if that could have an effect on jitter (and therefore sound quality). Have PreSonus said anything about why they took this seemingly backward step? My only guess is lack of Thunderbolt ports on older Windows computers, especially ones with AMD processors, which were blocked from using it until 2019. I'd love to have a Thunderbolt Quantum, but the only computer in the house that could talk to it would be my Dell laptop.

What a great deal! I love T-Racks stuff.

You forgot: 1 to mention that with REAPER, you can set up a track to emit light. Another to mention that while the UI isn't for everyone, MeldaProduction's MBulb allows you to modulate the light output in an infinite number of ways.

I was afraid that Brian was going to go into a decline after Melinda passed. I'm not too worried, the story said that Carnie and Wendy asked for the stipulation that they be consulted on any issues that may arise and it was granted. Considering their childhood, they've always seemed pretty levelheaded for Hollywood kids. Their mom was from a wonderful, loving home. I'm glad that he has people around to step in. Shoot, when my time comes, they ain't gonna be nobody around. No siblings, children, nothing. I'm the end of my line. I'm hoping that we'll be well along the way to the floating brain in a jar thing by then.

Currently we have the option to hide notes in muted clips in the Piano Roll View. I would like to also have the option to also hide notes in muted lanes in the PRV. Same use case for having the muted clips hidden, just extending that courtesy for when I have an entire TAKE I want to mute, which I do with the Mute button in the lane header. I seem to repeatedly follow this path: Record a few MIDI takes Notice that the performance I want to focus on is in a particular one Mute the other takes Open the PRV for some note nudgin' and.... Wonder why there are multiple notes stacked upon each other Flip back to Track View, mute all clips in already muted lanes Is there any reason not to have the option (option option OPTION) to hide the notes in muted take lanes? I mean other than "no way, bakers shuld use their code hours to write a chord track not protect lamerz, git gud or go home."

70 or so.

There are no such things as "USB-A chips." There are USB-A, USB-B, and USB-C connectors. There are USB 1, USB 2, USB 3 and USB 4 protocols. I know it's confusing as hell. I was baffled by the whole thing until I bought a nice Dell laptop that had a full Thunderbolt port on it and sat down and read all the Wikipedia articles and crap. The way to remember USB specs is letters are for connectors and numbers are for protocols. The US-A connector is still the most common USB socket/plug, it's the wide flat one. They're plentiful on the front and rear of tower computers and on the sides of laptops. USB-A cables usually have a USB-B, C, or one of Apple's proprietary ones like lightning on the other end. USB-B has common variants like the Micro, which used to be the most common for Android devices (might still be). The full-size USB B connector is most commonly used for large stationary peripherals like printers and scanners. It's usually only used on the peripheral side, with the other end of the cable being USB A. USB-C is the small symmetrical oval one. A USB-C cable can have either a USB-A or USB-C on the other end. Now for the protocols. USB 1 was the first and slowest. I don't know of any audio interfaces that used it, but I wasn't doing digital audio work during that time. I think when it was around, it was more common for audio interfaces to use Firewire. There may have been some MIDI-only USB 1 devices. USB 2 cranked the speed up to the point where it could handle data fast enough for low-latency audio. USB 2's speed and ease of use kinda killed Firewire. USB 3 made it even faster. I have not heard of any audio interfaces that use USB 3, maybe because USB 2 was fast enough. USB 3 also introduced SuperSpeed, which is indicated by a blue plastic "tongue" in the USB A jacks. Okay, here's where things get confusing. USB 2 can travel via USB A, B, or C connectors. I have a PreSonus Studio 2|4 interface that is USB 2, and has a USB C jack. USB 3 can travel via USB A or C connectors. The only USB 3 peripherals that I've ever seen are external drives. The fast data transfer is good for that. If anyone knows of a USB 3 audio interface, I'd like to hear about it. You can plug a USB 2 device into a USB 3 port and it will automatically fall back to USB 2 speeds. With me so far? Now we have Thunderbolt, which I think is where a lot of the current confusion comes from. Thunderbolt is a specification for a type of port. Both physically and electrically. Physically, it uses a USB C connector. Thunderbolt has gone through versions 1,2, and 3, but the first 2 were used chiefly in Apple products. We're only concerned with Thunderbolt 3, which is where we are now, and it was developed by Intel and released as royalty-free in 2019, at which point other manufacturers like AMD jumped on it. If your system has a full Thunderbolt 3 port, which my laptop does, it will be a USB C jack marked with a lightning bolt ⚡. If it has that lightning bolt symbol, it means that you can connect Thunderbolt devices, USB 2 and 3 devices, PCIe devices, and video displays. If it's on a laptop, you can also charge the laptop using the Thunderbolt port. (Not all Thunderbolt ports supply video, it depends on whether the computer supplies it. I think Apple systems and Windows laptops are more likely to supply a video signal via Thunderbolt) So for instance, at my house, when I want to plug the Studio 2|4 into the laptop, I use a USB C-to-USB C cable and plug it into the Thunderbolt⚡ port and the smarts in the port know to connect via USB 2. (I can also connect a port extender that has an HDMI jack, audio jacks, and USB A ports carrying USB 3. Right now, the laptop is charging through its Thunderbolt ⚡ port.) When I want to use the Studio 2|4 on my main tower computer, I use a USB C-to-USB A cable and plug it into either a USB 3 port or a USB 2 port. Doesn't make any difference. It will only run at USB 2 speed because the Studio 2|4 is a USB 2 peripheral. There is not yet a production USB protocol that will only work over a USB C connection. USB 4 has been released, and it will be USB C-only AND encompass everything that Thunderbolt 3 now has. Many current systems feature USB4 ports, but according to someone whom I trust to be in the know, there are no audio USB4 audio interfaces. I hope this helps.

Ah, I guess I should have included the actual sample I was trying to work with rather than the "mix." Mostly LCV did a good enough job putting in the markers, once I told it how many beats were actually in the sample. I can't even repro the horrid result. Here it is in MP3 form: FGclipped (1).mp3

It's actually 2 tracks mixed down. The dialog sample was left intact. The thing that's making the jackhammer sound was once a 4-bar intro from an old Fleetwood Mac song. It was supposed to have no processing on it except for a pitch shift. "I get better results by (using a tool other than Loop Construction view)" is certainly a recurring theme in these comments.

I find this a very interesting development. I thought Thunderbolt interfaces were the future, due to performance. I wonder what's behind this shift. I think it's true that there are still many desktop/tower computers that have no Thunderbolt port (yet even my 2017 Dell notebook has a full Thunderbolt port), but there are precious few that don't have USB 3 ports. Does the difference between USB 2 and USB 3 really not make a difference from a latency standpoint? I'm still a Firewire guy, was planning on leapfrogging USB2 and going straight to Thunderbolt when the time came.

One of the voices of my generation, to be sure. His famous article for Maximum Rock 'n' Roll was a game-changer and is still required reading for anyone hoping to have a career as a recording artist. He wrote it in the immediate wake of Green Day getting signed while the major labels were hoovering up pop punk bands.

You don't have Baby Audio's? Collect 'em all.

It kinda does, doesn't it? It doesn't show up in any automation lane, nor can I adjust it at the left edge of the clip. Unless the smile means you're kidding, you'll be pleased to know that there are a number of plug-ins that can do that. MeldaProduction's MBassador is the first one that comes to mind. bx_subsynth is another. Unfiltered Audio's G8 is a gate that can put out a MIDI note when it triggers, and I've long thought about using it in that way, to augment an acoustic kick or snare with a hit from a softsynth. Even the magazineware G8CM can do it.

So I guess when I ask about using a Sonar feature and the replies are all about 3rd-party plug-ins and programs that do the job much better, it's safe to say that said feature is of little utility.? Well, that's good to know too. There's at least one good trick that it can do, which is continuously loop the clip while the user adjusts the pitch and length. It seems to me that at this point it could be repurposed more as an editor for a phrase sampler. Add a "reverse" button to it etc. Can anybody tell me what the spurious line across the clip is? You can see it in the image I posted.

So it's kind of a dusty feature that is now of questionable utility? If the alternative is Melodyne, though, yeesh. I get that it's the best tool for pitch correcting vocal performances or whatever, but it's been so user unfriendly to me every time I've ever tried to use it that I avoid it if I can. I'll roll the golden turds (as I call it) if I absolutely need to, but otherwise, no thanks. I've started a completely new project using the same samples and so far no Spurious Diagonal Lines have appeared and I can hit the spacebar without unleashing the miniature chainsaw. The pitch shifting from within the Loop Construction View seems to work well enough for my uses, although I still have to walk it in by ear. Since it's a guitar sample, I have A|A|S Strum Session on one track and just compare the chords in the sample to the ones I'm playing in Strum until they sound in tune. Seems like there should be a better way to analyze and re-pitch a slice of music in this day and age, but whatever. I guess people acquire their samples by buying them in already in-tune form or something.

I decided to give Cakewalk's Loop Construction View a try. It's not gone so well. It did at first, but then things went into the hay in a big way. I'm trying to use a 4 bar intro of an old rock song as my loop, and I've opened it in the Loop Construction View, hit the "Loop" button, set the correct number of beats, adjusted the pitch using that control. I dragged the loop onto an empty audio track, then opened the Loop Construction View and there it was. I It all looks fine and plays perfectly using the Loop Construction View's preview button, but when I engage Cakewalk's global Play it makes this horrendous plastic jackhammer sound like one of those old cheap aquarium pumps. I tried exporting the project and it did the same thing. Also, the fist part of the clip has one of those weird diagonal lines across it that Cakewalk sometimes puts on my audio clips for no apparent reason. I never know why they appear or how to make them go away, but they don't seem to hurt anything, so I've just written them off as a cosmetic thing. But I would kind of like to know if they mean anything, and if it's possible to make them go away, I would like to do that. While I'm asking here on the forum. We're Floating Inside the Cloud.flac Pretty trippy, eh? It's not how I want it to sound, obviously. As you can see, there are no FX on the track except for kHs Limiter. There are no FX on the Master bus, which is where I'm taking the export from. Please help me cure my project of Spurious Diagonal Line Syndrome as well as Cacophonous Aquarium Pump Syndrome.

Okay, in case anyone else gets their Hybrid 3 installation messed up by the new installer, I figured out what was up with the presets "lacking something," even after I restored them to the test system. The installer also deleted my Program Files(86)\AIR Music Technology\Content folder, which contains the wavetables, phrases, and part-presets.hybrid files. After I copied those back from my other system, everything worked fine with both the old VST2 and the new VST3 versions of the synth. My recommendation is either wait for them to fix the beta installer or be aware that some of the resources may get deleted/moved from your current installation. Also, at least at this point, the feature we've been waiting/begging for, the scalable UI, is not present, at least not at this time. It looks and acts just like the last VST2 version. So unless you dig software testing (which I do), don't bother. It looks like the new version is also going to use iLok, so the only reason to grab the update would be if you're going VST3-only. I guess that makes it only relevant to Cubase and Apple Silicon users. More news as it develops....

DANGER! I installed the beta, VST3 only, and it deleted all of the factory presets in the ProgramFiles(86) folder. This resulted in the synth only finding some of the expansion presets I've bought, and my user-created ones. No sweat at my house, I just copied the preset folder from my laptop, but beware. Their traditional lameness in regard to installers is in full force.

Thanks, but I'll wait for bx_glue True Peak and bx_glue Pro. And/or bx_glue Class A that has neon green instead of neon pink accents. I'm a bit surprised that they didn't withhold the multiband feature in order to be able to offer bx_glue MB in 6 months. Heck, maybe someday we'll even see this version released as bx_glue Classic as part of their freebie bundle. ? I guess this stuff keeps the subscribers happy....at least they still have Unfiltered Audio to squeeze out something truly unique every year or so.

Assuming that they expose the amount of shift as an automatable parameter, try automating it and see what happens. To access track automation, just click on the automation lane icon at the lower left of the track header. You'll be able to select what parameter(s) you wish to automate. Give it a ramp and see what happens. If it zippers, then you'll need to find another pitcher. Let us know how it goes....

I woke up to this email today from InMusic/AIR: "We've been listening to you and know how much you've missed using our classic plugins. It's time to bring them back, better than ever, and we need your help to make it happen. Be among the first to experience the Apple Silicon and VST3 versions of our classic plugins." Followed by a link that took me to a registration page that referred to it as an "open beta," and requested my name and email address. The email also features an image of a sheaf of their instrument plug-ins, including my faves Hybrid 3, XPand!2, Vacuum Pro and Boom. The ones I mentioned are not just my favorite AIR synths, they're my favorite synths PERIOD. And I'm not a total bottom feeder when it comes to soft synths, I have Chromaphone 3, Ultra Analog VA-3, and MASSIVE, among others, and Hybrid 3 and XPand!2 are still my best go-to's for inspiration (Hybrid's arpeggiator system is freakin ferocious). I am cautiously optimistic about this development (no pun). In the past couple of years they released new synths that obviously leveraged some of the classics' underlying code, and while they're nice enough, they're basically cut down versions. But it indicates that AIR have at least hired some developers, and that they do good work. Too many good plug-ins have fallen by the wayside during the transition to VST3 and Apple Silicon, so the fact that they're putting attention to these is good news. At least there will be these upcoming releases to update the dusty code. They don't mention the #1 requested feature since the last major updates, which is a resizable UI. That has been screamed about so often on KVR that if they don't include it, people will be calling for boycotts of InMusic's entire product line.?Nor do they mention whether there will be any bug bounties that result in free licenses for people who submit unique showstoppers. It would also be nice to get a modernized skin for Hybrid 3; the current brushed aluminum one is starting to look a bit dated. Of course I expect the subscription fear brigade to check in with assertions that this is a harbinger of subscription-only pricing to come.? But seriously, none of AIR's recent releases has been offered under that licensing model. And given AIR's history of decades between updates, there would be few takers. I signed up, and when I know more, so will you....

Hmmm. I would imagine that since you're doing a soundtrack for an entire performance, you're rendering the whole thing as one long audio file? How about using track automation? Automate the pitch shift at the track level, not as clip automation. Do you have a pitch shifter plug-in? My favorite is kHs Pitch from the Kilohearts Essentials collection, which is a very useful bundle of free FX. I've never tried to automate a smooth pitch shift with it, though, only shifted entire clips by a static amount. It's not the only one in town, just my personal favorite.

Yeah, well, even though I think of myself as pretty good with words, sometimes my brain kicks into pattern-recognition mode at the expense of context. When I was in my late teens I heard a couple of college students talking about how they were going to apply for student visas and for a couple of minutes I pondered how that worked: was the bank targeting college kids as being good credit risks? Was MasterCard doing the same thing? More recently I was frustrated by not being able to find a good emulation of a spring reverb. It took me years to find one that I thought was worth spending money on (Wavesfactory won the contest), but before I found it, every year March-May my eye would get distracted by Plugin Boutique's deal page with all of these effects companies having "spring sales."