Starship Krupa

A Cakewalk forum participant whom I know to have a Meldaproduction referral code. Brian now has an MComplete license, so no longer needs referral credits. Check your account. If you've never bought a license from them, you'll get 20% off that first order no matter what you spend your money on. As long as you use a referral code.

It's a drum-oriented multieffect, packages different modules specially set up for drum processing. Nice to have them all in one place, but if you have the individual processors, I'd say it's not essential. Some people like one-stop instrument-specific FX, some would rather use individual favorites. I haven't tried it yet on any of my drum tracks, I'm not currently tracking live drums. But I did open it up and poke around the UI. Unlike most Melda stuff it doesn't have access to multiparameters and modulators, and it's meant to be operated from the top-level GUI's. There are 9 different devices, each tailored to a different part of the kit plus room and overheads. As always, if you want to buy it and you haven't made a MeldaProduction purchase before, be sure to snag someone's referral code and get 20% off. Sign up for the newsletter for a 10€ credit.

Been a while since I put a bump on this topic. Finally leveled up to MeldaProduction's MComplete (which should serve as a cautionary to anyone checking out their FreeFX bundle: that stuff is like crack in the form of a DLL for susceptible folks), so I've been exploring that huge bounty and not inclined to acquire even more plug-ins. I made an exception for this one, because I still haven't found a drum machine plug-in that satisfies the sounds I hear in my head. MDrummer, in customary Melda fashion, just offers way too many options and a bazillion drum sounds, so I get lost. Pepto Audio's DR-84 gets close to the classics, it's a ROMpler of various 80's drum boxes like the Linn, DMX, X11, and Drumulator. The samples are mono and have no FX, although there is an era-appropriate reverb on board if you want it. Caveat: for whatever reason, their sound mapping deviates from the General MIDI Drums, which may take some delving into the Drum Map Manager if you care about having the correct drum names displayed in the Drum Grid. If you don't, then just get used to their mapping and go for it. It sounds great. Bonus: it reports its preset names to Cakewalk, so you can access them from Cakewalk's own menu.

How about doing it like the guy in the video is doing it, using volume automation on the track? Up in the Tools Module in the Control Bar, there's the Draw Tool (F9). If you right click on it, you can change it to the Triangle: Once you do that, any automation you draw will be in a triangle wave, with the period being whatever your current snap settings are: To do a hard stutter, I'd recommend the "Square" setting. If you want to do it with a plug-in, the freeware Kilohearts Essentials collection includes a Trance Gate that will whip it up instantly. MeldaProduction's FreeFX bundle also includes MTremolo, which will also do it.

I think there's some misunderstanding about what he's trying to do. He wants to use the keyboard's speakers to monitor from Cakewalk. Unless the keyboard can act as an audio output device (unlikely), the only way to accomplish that would be if, as @gustabo says, the keyboard has an analog audio input. If it does, then a 1/8" stereo to 1/8" cable from the green jack on the computer to the keyboard's audio input should do the trick. Be forewarned that this configuration will then make any sound the computer makes play back through the keyboard's speakers. Since @Byron Dickens was uncharacteristically silent about this, the best solution would be to buy an M-Track Solo ($50) and a pair of dedicated powered speakers (of better quality than whatever you're using now, such as the Presonus Eris) for it. Second best would be to just get the powered speakers and and drive them from the computer's green jack. Do this and you'll hear what your setup is really capable of. Once you start overdubbing, freezing tracks, etc., you'll find the $99 Eris/$50 M-Track investment very much worth it.

The Clunk Monster rears its ugly head!

Since BandLab has no legal obligation to honor lifetime updates to SONAR, I think a good solution would be a crossgrade. Those licenses were purchased from another company, and that's what crossgrades are all about.

I don't, offhand. There are monitoring tools in Windows that allow you to see what's phoning home. I use Resource Monitor. I once ran it while launching REAPER, and sure enough, it phoned home. It was an unregistered installation, and I'm sure it would have worked fine without being able to phone home, but still, you never know.

Having a license key doesn't always mean that the product doesn't also phone home during the registration process.

Nice. And thanks for asking, it got me to think about what drummers I really like, and listening later I realized that all 3 of these songs have similarities in the beats. The time signatures ain't strictly 4/4, and I want to start being able to "hear" beats like that in my head, whereas I'm as stuck on 4/4 as your usual American rock loving boy. I've been musically blocked for the past few months due to some mind-bending financial challenges (rescued at the last minute by an inheritance a few days ago). I think what I want to do is take some of these loping beats and transcribe them into the DAW. This kind of thing might go pretty well with the downtempo stuff I want to explore. I'll leave you with a clip I watched over and over and over when I first started playing drums and was also not coincidentally recovering from a horrible episode of major depression. These guys weren't playing music, or even channeling it, they WERE music:

Also Steve Jansen's playing on his brother David Sylvian's Brilliant Trees:

Some of my favorite playing is from Alan White on Oasis' What's the Story Morning Glory? His version of the lazy Manchester beat is stellar. And often played with rutes instead of sticks. This is a different Alan White from the Yes drummer. Speaking of which, Bruford has played some pretty tasty stuff. Nigel Olsson with Elton John, Bonham, Moon (his stage presence very much influenced by Krupa), Ringo of course, Hal Blaine. I like Peart, it's tough to be that complex and still serve the music, which I think his playing did. Whoever played drums on American Analog Set's Promise of Love. I have listened to this song many times on headphones, playing along on my Slingerlands: Tony Allen's playing on this track from AIR's Pocket Symphony (this version cuts off the intro somewhat, but it doesn't hurt it much). Allen had a history that included playing with one of music's most evil assholes, someone I won't even mention, but he tears it up here:

I know, huh? This is the only forum I've ever participated in where topics actually improve. Not all the time, but I've seen trolling rants turn into thoughtful discussions and in depth useful critique. We went from Donny and Marie to Buddy Rich, Gene Krupa, Sammy Davis, Jr. Joe Morello and Prince! How about Jeff Porcaro's playing on Katy Lied?

My mom was a big Brubeck fan, so I was exposed to plenty of Mr. Morello's playing when I was little. She also had a copy of Herb Alpert Presents Sergio Mendes and Brasil '66, and I love love love Joao Palma's playing on that record. That clip from the Sammy Davis Jr. show. There are actually at least 3 great drummers on that stage (probably 4, don't know who was playing in Sammy's band at that time but he had to have had some chops to keep up). Sammy, among his many talents, could tear it up on the drum kit: Prince never mentioned being influenced by Sammy Davis Jr. (at least that I know of), but the whole "brilliant multi-instrumentalist and dancer" thing, Prince was my age and must have watched a lot of Sammy as a kid. I remember Sammy tap dancing in platform shoes on the Flip Wilson show, just killing it. Prince never reached Sammy's level of acting talent.?

Well, I think you can tell from my handle whose jazz drumming I prefer. Buddy was a technician, a brilliant one. But I think of him as the Yngwie Malmsteen of drums. Amazing chops, but is it musical? Do I ever want to throw on an album where he's playing in a band, or is it just YouTube videos of his solos? Gene could drive an entire big band. With Buddy it was all about his spotlighted solos. Elvin Jones is another fave of mine because of the way he could drive a band. Early on in my drum learning, I read a quote from Elvin saying that in a small combo, the drummer is the conductor. That was like a lightning bolt to my understanding of the role of a drummer, the power the drummer holds over the entire band's dynamics. A good drummer knows when to fade into the background, knows when to step forward to serve the music that's being created. I've never heard an example of Buddy doing that. With Buddy, the rest of the band wasn't important, he probably saw them as backing him up. For a drummer, that isn't a recipe for music that I want to listen to. I've noticed that most of the drummers I admire were/are somewhat humble regarding their role in the band. Elvin also said that he believed that his purpose in life was to play in the John Coltrane Quartet. He said that after he left Coltrane. Playing in that band was his masterwork. Neil Peart, famously reclusive. Ringo Starr, famously humble. Ever hear Alex Van Halen go on about how great he is? Nope, he left that kind of talk to his brother. Bonham? Yeah, he dissed Karen Carpenter when he lost out to her in the Playboy Poll, but I'll cut him slack for that one. Karen was a good soft rock player, but that was about it. Just my opinion, and of course not a popular one.

You were supplying him with his favorite drug, approval. The poor bass player was just another musician for him to need to feel superior to. There are certain personality disorders where the person must do whatever they can to boost their ego. This entails being as sweet as possible to people who supply them with approval and grinding down people who they see as competition, which is nearly everyone. Check Marie's behavior. She was as sweet as could be to the audience who was cheering her, but a total shrew to the other musicians. We all love approval and feel competitive, but this is those tendencies taken to a pathological level. My childhood was spent in Los Angeles and I got familiar with entertainment industry types. Not a group I would seek out for companionship.

Yeah, Marie....known to have some serious mental health issues. Ugh. Going all Buddy Rich on your band is a no-no.

The caravan to Aruba is not the road you'd choose...

Oh noes, Wikipedia contradicts itself: "The song, "One Bad Apple", written by George Jackson, was composed in the style of The Jackson 5 (it was not originally offered to The Jackson 5, though the Osmonds would later state that The Jackson 5 considered recording it)." My faith in the infallibility of Wikipedia is hereby shaken. When the song came out, I was in elementary school, and came up with the alternate lyric "One road apple...."

It's not uncommon for MeldaProduction. It's like a hotfix. Initially pushed out for people who are experiencing the issue, then rolled into the full release once it's shaken out. I've always just gone ahead and installed whatever version they put out, never been stung.

That is a myth. Check it on Wikipedia. For bubblegum soul, they don't do a terrible job of it. Having the Muscle Shoals house band backing them up doesn't hurt. Yes, and "Show Biz Kids" would be an appropriate tune for them to cover. Hey, you're a drummer, check out Jay's technique on this tune. He's miming, but he actually played on the recording (they eventually got proficient with their instruments and played on their later albums). I wish I could get my wrists to do that when I'm on the kit. He's playing power rock strokes using trad grip. Tight little fills. Also: sweet stained walnut Luddies, complete with 70's approved set of 4 concert toms and Supraphonic:

Which kinda validates a point that I have brought up: while theoretically all DAW's should sound the same, we don't know what any of them is truly doing under the hood. Yes, Nyquist, Fourier, et al, but then we have Image Line.... Like Helmuth von Moltke's contention that "no plan survives contact with the enemy," I say that design principles are often compromised during actual implementation of them. Engineer: "it presents the recorded audio with no resampling, added jitter, or coloration of any kind." Marketing person: "great, is there anything we can do to make our program sound better than the competition?"

I detested Donny and Marie as much as any other teenage boy back then, but looking at it from an adult perspective, also knowing more about what goes into stage productions....that is some nice choreography. I wonder if it was still Jay, it looks like the style the Osmonds were doing in the "One Bad Apple" period. That stuff is hard work. Definitely a relic of the "knock 'em dead" era of entertainment. It's the intro to the show and they start off with a Steely Dan number that ends up with them ice skating backwards. I'd like to hear/see Donny and Marie doing one of the Dan's darker numbers like "Charlie Freak." I bet they could tear it up on "Haitian Divorce." No! A whole album: Donny and Marie Sing Donald and Walter. Marie: "No marigolds in the promised land...." Donny: "There's a hole in the ground where they used to grow...." Both: "Any man left on the Rio Grande is the king of the world as far as I know!"

A simple remote control app for iOS and Android. Here's another. It was a big factor in my decision to go with Mixcraft almost 10 years ago: https://play.google.com/store/apps/details?id=com.acoustica.ControlSurface&hl=en_US&gl=US Simple transport control, but man, for situations like recording yourself at the drums, it's valuable. Of course, once introduced, you open yourself up to endless feature requests to implement mixer control and whatnot, but it is a very useful feature. AFAIK, at least Logic, Mixcraft, and Studio One all have one. Pro Tools, too, probably.

Very good sounding melodica, plenty of serials left.