Starship Krupa

Unpopular opinion, I guess, but I've found it useful at times. The original was similar to a Moog Rogue, with a simple organ circuit grafted on to make it polyphonic (the Rogue voice was still mono, so you got Rogueish basses and leads and cheese organ chords).

I got some Antares freebie or other from PB and was taken aback when I had to go to a third-party site to download this CodeMeter app. It looked like it was developed on a shoestring. The Antares plug-in was definitely not worth having to have this thing sitting in my system tray. At least PACE and Waves Local Server have the courtesy to be installed along with the software and then run quietly with no tray icon. It occurs to me that Antares are kind of the Avid of vocal tuning.

This forum does make misers of us all; And thus the lure of higher resolution Is sicklied o'er with the pale cast of doubt, And productions of great pith and moment With this regard their currents turn awry And lose the name of action Venus Theory! In thy admonitions Be all my sloth expos'd.

The guy's site is "Pro Tools Expert," surprise: he's an apologist/advocate for a subscription model. As with so many of my opinions, what I say is "it depends." The entire software market isn't monolithic. You have software that's used for recreation, software that's used in the course of running a business, and software that may be both. The subscription model makes more sense for something being used in business For software that I bought in good faith with an expectation of a certain level of utility, if it's found that the utility suffers due to defects, I absolutely believe the manufacturer should take care of it at no cost to me as would the manufacturer of a physical good that was found to be defective. I don't believe that I'm entitled to anything other than what I was sold. If the product stops working due to some change in the operating environment, well, that's up to the discretion of the developer. Developers who are strong in this area get more of my money.

There's the often-overlooked VX-64 Vocal Strip that comes with Cakewalk. It has a pretty good doubler. I think it's now included with the regular installation, but years ago, you had to go through some steps to make them visible:

I prefer to use italics for emphasis.

Turbo Pascal. j/k

I discovered Mr. Gabriel's solo work via a copy of Peter Gabriel 2 aka "Scratch" from a cutout bin (some of my best discoveries were cutout bin scores) in 1979 and then acquired the rest of his catalog. It was part of my introduction to the New York No Wave/post punk thang. He and Robert Fripp kinda touched down there for a couple of years. I got to see him on the So tour, and it was as great a show as I had hoped, but his output after that....it got kinda....sedate and unadventurous. When he and Kate Bush fell in love with the Fairlight, they started to lose me. My tastes were changing rapidly in the early 80's. I liked him weird, not radio-friendly. My first thought upon listening to this new song was "sounds like a General MIDI demo." Also my second and third thoughts. It sounds very "gridded" and not in a cool EDM sort of way. The sounds he's using seem to have continued down the deflavorized path begun with the Fairlight. His cover of Arcade Fire's "My Body is a Cage" was pretty awesome, I must say.

There was some guy claiming that Dirk would now have a chance to expand his collection of white socks. He was pretty adamant about it....

https://www.theverge.com/23543094/creative-sim-wong-hoo-sound-blaster-obituary-death Dang, that's pretty young. I think about it, and the question for Windows users past the age of 30 isn't whether you ever owned a SoundBlaster, but which one(s) you owned.* This guy created a standard for PC audio when one was sorely needed. Thank you Sim Wong Hoo for making so much possible. *(I don't remember the first one, but the last one I owned, which coincided with my entry into prosumer audio, was a Live! Unfortunately, I had to dump it once I found out that it resampled all incoming streams, no matter what the rate, to 48K. Even if you fed it 48K it still resampled it, and its resampling algo was not good. So my transcriptions of old DAT masters sounded "flattened" in comparison to the bit perfect transfers I later achieved. My first lesson in the fact that a "digital" audio stream could stay in the digital realm and still become compromised. The fact that an $18 CMedia 8739-based card smoked it in terms of quality when taking input from (and sending output to) S/PDIF devices made me sad. The Audigy chip had so much potential.)

This has me curious. RME has about the best rep in the business in regard to drivers (no personal experience). Does the same issue happen no matter what driver mode you're using? I mean ASIO vs. WASAPI Exclusive vs. WASAPI Shared? Not suggesting it as a workaround or anything, but if there's a difference, it might help the folks at Cakewalk and RME if they look into it. With your position as a creator of YouTube tutorials, there is probably a greater motivation to help you sort it.

Can you explain this in more practical terms? I'm not sure what a "dependency" is in this scenario. I imagine that it has to do with the bus having to wait for every track that is routed to it to finish doing whatever it needs to do with the stream (FX, synth computation) before it can do its thing, but in practical terms, how would I set things up to be able to observe this or optimize it?

https://www.hwinfo.com/ (the best view for ongoing system monitoring is had by checking "sensors only" in the start dialog) Google "how do I disable C states in BIOS on my <make and model of your laptop here>"

According to TYLIP, "A selected region will invert the color of the ruler. For example, with the ruler background set to White, the selected zone will be Black, which may render the Selection Marker invisible if it also happens to be Black or near-Black." So the color of the "green bar" is really a matter of the color of the ruler underneath it. In my Blue Flat Dark theme, it appears as very bright white, because my dark themes kinda take "dark" to the next level:

Yes, as @msmcleod suggests, go into your advanced power settings and you will see that your notebook is configured to throttle CPU performance when on battery. Choices: either bring your power adaptor to the gig (my favorite solution), or set the minimum processor performance while on battery to 99% and expect much reduced battery life. Other things to mess with to see if you get any change in performance are Cakewalk's Thread Scheduling Model (I use model 2, you may get even smoother performance with 3). Also turn off the 64-bit Double Precision Engine if you have it on, it's not necessary for your scenario. I also disable C states in my BIOS. C states is another power-saving-at-the-expense-of-performance feature. My favorite freeware utility for monitoring such things as processor clock is HWINFO. That will show you if your clock is bouncing around.

Selecting none is a handy thing to be able to do quickly in Cakewalk. Performing certain operations with too many things selected can easily produce unwanted results. Mapping the tilde/invert quote key to Edit/Select None is the choice for many. No modifier needed.

Yeah, the documentation and actual behavior of wheel zooming don't always line up. I've brought it up in the past. I was going to mention the Zoom Factor settings, as at one point I got into the same pickle you did. Glad you found them. Also, in teh PRV don't expect everything mousewheel zoom to work as described. It doesn't. It's not that far off, but some things, like vertical zoom, just don't work as described in the documentation.

Yes, I know. AFAIK, though, the plug-ins that are branded as such at PA are developed by the brainworx team. Do I have that wrong?

UfA is kind of the odd brand out in the PA universe. They really don't deserve to be included in PA's lowball sales, despite the fact that I've benefited hugely from them. They should be getting more revenue for those amazing FX. And I think for the purposes of this discussion, people are referring to the brands that are developed by brainworx, like elysia, SPL and so on. Unfiltered Audio is a separate company based in Santa Barbara, CA that just happens to be distributed by PA. I'm a fan of Glitchmachines and Freakshow Industries as well. They can really add some crazy ear candy to a track. Not useful for anything but electronica at this point, but if some big time pop producer dropped some Glitchmachines into a hit track, it might become part of the vocabulary, like the autotune glitch thing. Not that I would necessarily welcome such a thing.

Ugh, yeah, I don't care for that sort of thing, like the differences between Shadow Hills Mastering Compressor and the Class A version, or bx_masterdesk and the "classic" version. Or BYOME and TRIAD. New features are great. But make them available via a switch and call it 2.0 rather than keeping the old version around as a separate product. Exponential Audio was guilty of this with Phoenix/Nimbus/Stratus, which were all the same basic engine with bells and whistles added. Also R2/R4/Symphony. In all of those cases, I might even see keeping the old version around as a freebie (which they have done in the case of masterdesk and at times SHMC) or cheapo, with an upgrade path, but that ain't how they roll. Whatever, between MEGA sales and vouchers, I have everything I want from them for peanuts.

Depending on what you consider "groundbreaking" and "a while," Unfiltered Audio have released SILO, LO-Fi-AF, Tails and Needlepoint all in the last year. Maybe these are not the first granular, lo-fi, ducking reverb and vinylizing FX on the market, but they are unusual enough in their categories to warrant getting them even if one already has FX in that class. For the most part, when I think of Plugin Alliance, "groundbreaking" is not the first thing that comes to mind except for Unfiltered Audio. brainworx, elysia, SPL, Lindell, Shadow Hills and their other brands seem more aimed at "faithful software recreations of sought after hardware" than they are breaking ground. Not exclusively, but that just seems to be more their thing.

Must it be either/or? How about striking a well-considered balance?

He sold to Soundwide, not BandLab.

Yeah, it's just this side of too small on my 1920x1080 monitors. Like much of the PA line, kinda overdue for some UI scaling. I just snagged the SPL Vitalizer and it's on the other side of too small. Tiny tiny.

You certainly have plenty of excellent ones to choose from. When it comes to PA's stuff, elysia mpressor is a very nice track compressor. I tend to ignore the more advanced features like the attenuation limit and built-in EQ and just set it up using the ratio, attack, release, and makeup gain controls. Whatever its detector is doing, snare tracks seem to like it better than anything else.