Starship Krupa

Meldaproduction MReverb has similar features; of course, it probably doesn't have your ONE sound. You can demo it, though, and if you wait for it to come around in their Eternal Madness rotating sale (or one of their likely upcoming 50% off everything sales), its price drops to $19. (and if you've never bought anything from Meldaproduction, use my referral code, MELDA1923165 to knock 20% off your first purchase, sign up for their newsletter for a $10 credit, and you'll end up getting it for $5)

I used to have similar issues with MSF (usually when browsing presets), but the recent update to 16.01 seems to have cured it, at least on my systems.

So much for speculation about the incipient demise of Massive. If they were going to set it adrift, I doubt they'd go to the trouble of porting it to Apple Silicon. As of right now, I'm still sorting out where Massive fits in my collection of synths. It's too iconic and well-supported by tutorials and presets not to take it seriously, but I still like Hybrid 3 better. @abacab's advice to use the genre browser in Komplete Kontrol was good. I discovered quite a few usable pads/soundscapes in the Expansions. Not so much in the original factory presets, which tend toward turn-of-the-century Car Alarm Trance. First-world problem I'm running into: the humongous amount of free presets available for Massive. I've downloaded thousands. After the years of my favorite synth being Hybrid, with far fewer free presets available (although I find the factory set more useful than Massive's), I'm like a kid in a free candy store. Since I find a large amount of my inspiration in timbres, I browse the presets in search of that, but with this number of presets, it's days of doing that, and then I find yet another source of them. It occurs to me that for someone just getting into working with DAW's, the amount of freeware plug-ins must feel like that. I'm keeping good freebie hygiene, though: if I can't find a good sound in the package, it gets deleted ASAP.

Swatches has been updated with a selection of sounds from this new soundpack. It's up to 636 sounds now.

Tactic for $5. I'm building entire songs around it.

Whoa. I have their free convolver, which according to HWINFO makes good use of my GPU. I had no idea they were cooking up a synth.

Dusty actually passed on July 28, 2021. He is missed. Back in my teens, before I even owned a bass, I wanted a Telecaster Bass just like Dusty's. (check out the baby face on Billy!)

I have one question: I like those knobs in the Channel Strips, how did you make them? Custom knobs is the one thing that I have yet to tackle in regard to theming.

Hmm. Then you've probably also tried the trick of opening Device Manager and getting rid of all of the old entries for the Korg. I have a nanoKontrol2, it sure would be nice if Korg paid some attention to supporting it better.

Try ditching the Korg driver and just using the Microsoft class-compliant driver. If all you want is CC's, it should work fine. Of course, if you want to be able to use the remapping software that comes with the nanoKONTROL2, you'll need to switch back to the Korg driver for that operation, but then you can switch to the MS one after you're done.

This can be an issue, especially if one is a curious sort who likes to take all opportunities to try out free things just to see what they do. Based on what I learned during a recent new system build, I've adopted the policy of making sure to delete plug-ins as soon as possible once I've auditioned them and deemed them unsuitable to my current needs. If I fail to do this, if I leave them around "in case they might be useful someday," they invariably just become clutter. And there's a real danger that I might on a whim try throwing one on a project-in-progress, then later cull the plug-in from my collection only to call up that project and see that it's missing. It's a trap! Try all I want, but only keep what I can see an immediate or near future use for. This is especially true for mixing FX: Compressors, EQ's, limiters, reverbs. I no longer even try new ones of those even if they come out at my favorite price: free. With synths, it's harder, because they of course do all sound different, but if it doesn't catch my ear right away, when will it? A good test for me is to open up the plug-in browser and just look at the names. If I don't even recognize a plug-in by name, that means I'm probably not using it enough to keep it around. My DAW is a tool, not a museum!

Indeed. A golden age. And there's so much great music coming out of it, especially in the various forms of electronic music. You may have these already, I can't remember, but those Plugin Alliance mega-sales are a great time to snag Unfiltered Audio's Sandman Pro bundle, which comes with both Sandman Pro and Instant Delay, and not incidentally, the insane presets that come with them. More than one of the Unfiltered Audio FX are basically delays with something happening in the loop like pitch shift or whatever. I have the whole collection, I even have Sandman, which was their first ever plug-in. This is thanks to the aforementioned PA sales, where you can often pick up one or two for free with a $20 voucher. I have a deep bench when it comes to weird delays: Surreal Machines Diffuse (got it as a freebie 5 years ago before my pivot to electronic music, I tend to forget about it, but it's kinda got a Valhalla Supermassive thing going, which is great) McDSP EC300 (another freebie, 3 delay models, insane number of presets) MDelayMB (freebie again, might see more use if it hadn't been utterly overshadowed by....) MTurboDelay (if you only want to own one delay where you'll never reach the end of what it can do, this is it) MSpectralDelay (freebie, a sweet sounding glitch-o-destructo-toy) A|A|S Objeq Delay (yet another freebie, never fails to yield fascinating results, underrated I think) D16 Sigmund (freebie, recurring theme, anyone? A sleeper, has a lot of sound design tricks up its sleeve, if you also got it as a freebie, revisit it, even more underrated) Sphere Delay (does some nice cross feedback and modulation tricks, doesn't see as much use since I acquired all these other ones. Rhymes with "Keir Dullea") T-Racks Tape Echo (still another freebie, typical excellent IK Multimedia quality, but usually shunted in favor of EC300 if I want tape delay) Unfiltered Audio Instant/Sandman Pro bundle (just go ahead and get them for free or peanuts when another PA sale comes up, they're great, with the built-in Unfiltered Audio modulators section) ValhallaFreqEcho (it's always free and has a frequency shifter in the feedback loop!) Glitchmachines Hysteresis (always free, and as with most of my beloved Glitchmachines FX, it's not for times I have a definite goal in mind but it's joy for tempo-sync'd utter weirdness) Notice how many of those monsters I got for free. Even the ones that are always free will provide hours of fun.

I'll chime in here and say that I, too have had this happen, and each time, I traced it down to a plug-in or plug-ins in combination not playing nice. I've had it happen with both FX and instruments. Sometimes everything will just go silent until I restart the audio engine. Yes, sometimes 2 plug-ins that work fine separately don't like being in the same project or on the same track. Try leaving Neutron enabled, and then disabling the FX on each channel one by one and see if the problem disappears, then you might have just such a situation. The only thing you can do once you narrow it down is, depending on how important the plug-in(s) are, contact both Cakewalk support and the plug-in(s) manufacturers with your findings. And substitute, if you can, other plug-ins in order to get the project finished. Neutron is a very common suite that is marketed by the manufacturer as compatible with Cakewalk, so if something is going wrong with it, all parties need to know.

That's not applicable in this case. The OP is clicking to add a node, and when doing so with snap enabled, clicking anywhere should respect the snap settings. They're not trying to use Aim Assist as a landmark, they're just pointing out that Aim Assist is respecting the snap settings whereas the resulting action is not. Now Time has nothing to do with it. The bottom line problem for them is that adding automation nodes isn't respecting Snap to Grid, and I tried it and it's the same for me. Although in the past I've never tried to get that precise with my automation, I'm curious about this, so I did a little documentation digging: https://www.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Tools.26.html I'm having a hard time parsing that page; nothing that I tried from it seemed to work as specified.... From the local help file: "Cakewalk lets you define a snap grid that makes it easier to arrange clips, select time ranges, and control envelope shape drawing." That means automation, right?

No worries. I meant to point it out for clarification sake, not shame you.? Much as I dig Cakewalk, there is something to be said for using the software that is standard in your industry. It makes it easier to find advice, and the manufacturer will have more invested in your specific application of the program. And from what I've learned by participating over at Vi-Control (if you don't know about that forum, I recommend it for someone learning scoring) Cubase (and Pro Tools) rule the scoring world. And Steinberg have dropped that nasty dongle activation thing. That said, if you find that certain operations have you longing for Cakewalk, you can probably switch back to it for some phases, such as mixing (at this point, I would hate to be without Cakewalk's Console). My video workflow is that I finish the audio in Cakewalk, then import it to Vegas Pro to do video editing, then render the finished video from Vegas. But since I'm making YouTube videos for my songs, I'm cutting the video to the audio rather than the other way around.

Follow these instructions to do a clean install of Cakewalk: https://help.cakewalk.com/hc/en-us/articles/360034066393-Clean-Install-Cakewalk-by-BandLab

Innit nice? Yeah, cool destructor effect. Noise Engineering's two freeware synths are pretty interesting too, although I haven't spent much time with them. A lot of big goth-y grind-y Darkwave pad sounds.

You can add me to the chorus of "I tried it and it works over here." However, the above statement jumps out at me. I haven't done any video for broadcast, never messed with SMPTE. Can you fill me in on the purpose of this? Does the client/instructor require a SMPTE marker at the start and end? Did you fiddle with the clock source settings? I've never chosen any clock source other than "internal" or "audio," but I can see where it might make a difference. I don't have much time to dive more deeply, but it might be helpful for all involved if you posted your version of this: Seems like there are multiple things in there that could result in what you're seeing if they were set a certain way. The documentation says that SMPTE/MTC sync is for when you have an external device generating either SMPTE or MIDI time code. Which clock source are you using? Also note the timecode format. As you can see, mine defaults to 30 FPS non-drop, while my video is, like yours, recorded at 29.97 FPS. The Cakewalk documentation says this about that: "29.97 FPS Non Drop-NTSC non-broadcast and short length video in North America and Japan. Used for some music projects. This setting synchronizes the video perfectly with Cakewalk, but the sequencer position displayed in the Now Time and Big Time displays will gradually drift and become incorrect over long periods of time. The audio and MIDI synchronization to the external device will not be affected by this discrepancy. "30 FPS Non Drop-Most music projects and some film in North America. This is the best choice for any music project and should be used unless the situation dictates otherwise." In oft-too-typical fashion, the documentation doesn't specify which music projects want which, just "some" and "most." Now, for the sake of confusion, because @Mark Mitchell posted in this thread instead of starting his own topic, we are dealing with two different users with two different computer systems and two different issues. @Malinois is running an onboard CODEC with WASAPI Shared and is having draggy video. First thing he needs to do is switch to WASAPI Exclusive and try it again. Mark Mitchell is having a different problem, he's running a MOTU interface with ASIO and his recorded audio cues aren't lining up properly with the video And fellow old dudes, you know I love ya, but as regards hating on onboard CODEC's please lighten up on that particular finger point. While, yes, it's best practice to use a good interface with an ASIO driver when recording, the facts of today are that way more people than in the past are using notebook computers to compose, mix and edit, using the headphone jack to monitor. You want to swear that Cakewalk doesn't play as well with onboard hardware CODEC's? Fine, but if that's actually the case in 2022, then Cakewalk sucks. What kind of hardware do you think schools use? Do their computer labs have Scarlett interfaces plugged into every computer? (my guess: probably not). What kind of computers do you think that 99% of college students living in their residential housing use? (my guess: laptops) How will someone who is completely new to DAW's initially try out different ones? (my guess is that most of the time, they'll just plug into the computer's headphone jack) Can Cakewalk afford to suck in those scenarios? BandLab's main page for Cakewalk by BandLab shows 3 computers running Cakewalk, two of them portables, no external interfaces in sight. Noel Borthwick, the man himself, tests Cakewalk's performance on a system using only the onboard sound chip. But if you want to create and reinforce a reputation for Cakewalk not playing well when using the onboard CODEC to monitor, keep it up. The word will get around eventually. All it takes is one snotloaf to quote a forum post out of context on Reddit for it to become an "issue to consider" when choosing a DAW (which I'll probably have to go on there and debunk once a week). In this day and age, it can't be a given that using onboard audio is going to cause problems with Cakewalk. If there are cases where it does, the developers need to know right away. What make and model of computer, what hardware CODEC, etc. It has to work well. I don't care how many systems worked better in 2000 once they put an Audigy or Echo card in. That's old information. WASAPI has been around for 15 years, longer than some Cakewalk users have been alive. Does the anecdotal information you're going by date back that far? I've had to adjust mine a few times over the years. Brands of video cards, brands of CPU, laptops vs. desktops, etc. From what I've observed across multiple systems in the many years I've been building them and using them is that onboard chips work just fine with Windows in WASAPI Exclusive. The playback is pretty much as smooth as using an ASIO-equipped external interface. On one of my systems, onboard chip with WASAPI Exclusive playback performs better than with my brand new Presonus USB Studio 2|4. I figured out why, too (using Resource Monitor and LatencyMon): the USB host can't keep us as well as the onboard chip's more direct connection to the rest of the chipset. For sure, it doesn't sound as good, due to better jitter control and supporting analog circuitry in the Studio 2|4, but it's easier on the audio engine. Believe it or don't. The USB driver goes nuts according to LatencyMon when using the external interface with its ASIO driver, and everything quiets right down when using the onboard sound. Which makes sense to me. Fortunately, with my ancient Dell Latitude E6410 (mfr date 2011), playback with the onboard sound chip works great (in WASAPI Exclusive, somewhat less so in Shared). When I want the best listening experience I plug in the Presonus, but it just doesn't work as well when mixing and editing. I get pops and clicks no matter how high I crank the buffers. Think about gaming, where you typically use onboard Realtek CODEC's. All the horsepower they use for audio and video processing, 60 frames per second of texture-mapped 3-D in real time, with whatever binaural or Dolby or whatnot fancy spatial audio processing in a situation where frame rate is paramount, and you can't have any bottlenecks. As we know, it's gaming that drives the development of cutting edge PC hardware. They're not going to put a bottleneck into those systems in the audio CODEC. Although there is a small market for internal PCIe sound cards for gamers, I've never seen a gaming enthusiast/system tuner say anything about Realtek's CODEC's being a possible drag on frame rates or overall performance. The usual word is that theoretically, a sound card can offload tasks from the CPU, but then the CPU has to manage the extra USB chatter so it's kind of a wash. Is it really too much to ask of Cakewalk to play back a video and an audio track and record at the same time on similar hardware without glitching or lagging or things getting out of sync? But it might work if I buy a nice audio interface? Please tell me, because if I can't expect to be able to mix and edit on my laptop without lugging an external interface around, I'm ultimately going to have to find a more capable DAW because I want to be able to go mobile in times when I don't have access to my studio system. If I shouldn't even bother trying to use onboard sound with Cakewalk, well then, shoot, I won't.

From the video, I get the impression that they mostly modeled the analog circuitry surrounding the converter itself, with the exception of the rate reduction knob. Fair enough. The sample sound files of course had that same problem that a lot of such things do: the "after" examples were louder, so impossible to tell exactly what the thing is doing. As for MWaveFolderMB....ugh. I just took the non-MB version for a spin and it sounds like total crap, and not in a good way. I'm not afraid of sound destruction; one of my favorite plug-ins is Freakshow Dumpster Fire, and I have both of the other Freakshow FX as well. But MWaveFolder sounds like someone trying to play music through a toy walkie-talkie with a half-dead battery. Which seems on paper way better than it actually sounds. I can't imagine that multi-band would help it be more appealing. I know it's supposed to be harsh, and believe me, I used to go to shows that Survival Research Labs and Poison Gas Research used to put on in San Francisco, I am not averse to creative applications of noise. This doesn't sound cool, it just sounds like....crap. I'd love to hear someone using it just to see if I had the application wrong. If I wanted that "musical greeting card with dying battery" sound, I'd use MBitFun or MWaveShaper before that thing. Noise Engineering Ruina is even better. Also: notice how there are no videos or sound samples on their website for this effect.

Hidden gem: if you have your eyes on a Meldaproduction bundle that includes MWaveFolderMB, they'll give you €24 credit toward the bundle if you have a license for this. They assume that if you bought it from a 3rd-party vendor that you got it for 50% off list, So, maybe worth it for that alone even if, like me, you never even touch the FreeFX Bundle version. As for the others....yet another fake sidechainer? And the very idea of a DAW plug-in that emulates the flaws of an early converter is....I don't have the word for it. Unfathomable? "Make your sounds really not pop in the mix! Add fabulous 'digititis.' No JetPLL!" Still, every Meldaproduction plug-in is....precioussss, yes? My precioussss Meldaproduction FX. We loves themmm.

Whytse did a funny Snake Oil? video on it. He didn't seem to get the joke, though. The detailed "retro" visuals seem to me to be an obvious pee-take on the plug-ins that have "wear marks" and rack screws in their graphics. Like, you want retro, we'll give you retro. And the graphics showing the compression actually look useful. If I didn't already have a zillion good compressors, I might spring for it at that price.

Wow, great mic for anyone who managed to get the deal. I got a crazy deal on a pair of them years ago, used. It's an industry standard, like every studio starts with a 2020 and a 57.

C'mon, fellow Meldamoonie, Vojtech has been using this model for years to great success. It gets attention and warm fuzzies for the brand "if their free stuff is this good, the payware stuff must be fantastic." The responses I got at VI-Control when I mentioned that I cut my teeth on MCompressor were very interesting: turns out that many people (and Vi-Control attracts a lot of pros) also did so and therefore became hooked on Meldaproduction products. MCompressor is a truly great effect. It's a freebie, but if someone trips on using a freebie effect, they can even make it payware if they want. ? And you and I both know how hooked you can get. I've spent more with them than any other software company, including the pile of reference credits I've earned. The ref credits I've earned over the years is well over 100 euros, which means that I've been responsible for well over 1000 euros in sales for them. As are you, even more so. And as far as buyer bitterness, I've pointed this out before: you had the use of the FX for years before us cheapskates. The idea that we're somehow being cheated when a product that we bought later becomes much cheaper is a fake idea. We had use of it when we were hot for it. The purchase gave us a dopamine squirt (and it's usually a bigger squirt than when you get it for free). Your licensing bucks helped make them successful enough that they can now give things away for free, and you get the new freebies to put in Snap Heap or use standalone like I do (Limiter sees a LOT of use around here). But you know that. You'll also of course benefit from their new approach as they seem to be into continuing to release cool little toys like this dual delay. I'm a sucker for interesting delays.

Agree totally. Feature Request it in Feedback Loop. My favorite Useless Cakewalk Tooltip is when you hover over the note duration buttons in the Piano Roll. Over the quarter note symbol the tooltip says...."quarter note." Unless this is some kind of teaching device, how many people know what a quarter note is without also knowing what one looks like?