jackson white

@jerrydf Thank you for posting the tracks. The Gypsy Violin sounds like something I could actually use. Is it the East West "QL" Gypsy, with own sample player and articulations?

Another take on console "magic". https://www.plugin-alliance.com/en/blog/blogpost/items/tmt-explained.html

There is an option in the Plugin Manager to "Exclude Plug-in". You can click on "Show Excluded" to make sure it hasn't been accidently excluded.

Ian Anderson might have been able to do it...

mine has been more like a 737 lately . ..

@sjoens you could try this Chrome add-on which adds a convenient toggle to the browser bar. https://mybrowseraddon.com/dark-mode.html (was doing some remote location work and finding the "light" screens were attracting too many bugs at night ...)

maybe try asking here? https://discuss.cakewalk.com/index.php?/forum/47-drum-maps-new/

amen. "humanization" = randomization which will just sound like an amateur on drums. keys are both timing -and- velocity. In addition to the comments above. should also add the timing of the bass relative to the kick. might depend on the style, but can have a significant impact on the overall groove as its the connection to any melodic content.

Hamilton tie-in?

the demo is more fx than amp, but willing to give another Vox clone a shot. update: there are amp only clips on the site which are much more useful. The "C" amp has some potential imo.

Should've kept looking. There's apparently another one for only $15. Conspicuous lack of deets, sellers seem to be from all over, but perhaps TT allows users to resell their license?

@Keni, I hear ya, but, isn't always an option and especially so for drums. I got into BFD when demos started having to sound like polished masters. Not quite sure what you meant by this, as anything you buy is always at the discretion of some recording engineer (drums/tuning/mics/mic placement/preamps/room) unless you record it yourself. The choices BFD made were a great fit for what I was looking for with a good range of expansions (ya can never have enough snares) including samples from quality 3rd party vendors that dropped right in. TT SD was interesting with kits by Al Schmitt and Chuck Ainlay but I wasn't finding what I was used to with BFD in the little time I had to check it out. I could be missing something . Hopefully your find on SD3 isn't a case of "too good to be true". Feel free to share you thoughts on it once you get some time with it.

I have a similar assessment of AD2, and earlier versions of TT SD, have not yet spent much time with TT SD3, but still hearing too much 'room' in the kits I looked into. Nice rooms, mind you, but not what I was looking for. Was hoping there might be some potential with MODO Drums, but once again, the variable parameters struck me as "digital manipulation" vs. actual engineering moves. Might have something to do with how resonances are being modelled (or not), but I didn't hear enough to make me spend more time on it Given your experience, BFD3 sounds like the best fit and had by far the most usable cymbals as well as 'real' drum sounds. They did some nice engineering on a lot of their expansions without excessive 'processing' for acoustic material/projects. That being said, the 'relaunch' of BFD Drums via InMusic has been an absolute mess. As much a advocate as I am for BFD, at this point I can't recommend it given the current state of affairs. They've tried to implement some form of mandatory online authorization which regularly deactivates *everything* you've ever bought, including the many years of expansions before InMusic. There are additional issues but the concern is this has been going on for months with no definitive response to the showstoppers. The only acknowledgement I'm aware of is a couple of the original FXpansion crew sticking fingers in the dike to prevent a complete meltdown of their existing customer base. I'm actively looking for a replacement as well.

A disciplined toubleshooting quide and compilation of best practices should help, documenting something like this for my own benefit. There are many practical suggestions in this forum from knowledgable users in addition to active engagement from core developers (big plus here) but given the seemingly infinite combination of hw and sw configurations, there's not going to be one definitive solution for every user. My most recent issue 'featured' a new combination of hw and sw issues. ... You could add CPU intensive / inefficiently coded VSTs to your list.

fwiw, was looking at this as a nice alt/complement to the Channel 80 which has been working well for me. Compared it to Acustica's Pink4 and went with Acustica because it had a little more of a 'rock edge' to the sound which is kinda what API is considered for. More is more, right? without getting wound up in which one is more "authentic'. That being said, the Acustica is a CPU core killer. Was comparing notes with a user on a Mac and we both concluded Acustica is somehow connected to outstripping Moore's Law or driving the effort on quantum computing. It's enough to make me reconsider the PA version, which I plan to do whenever the demo is reset or the price hits BF levels. Or I can justify the $$ for a super computer.

written by Jimmy Web. Maybe he should've tracked it with a singer instead of an actor.

The attack/bowing technique are probably the key to some kind of "acoustic distortion" more than the instrument itself perhaps with a less refined approach to sampling, (Doug Kershaw and a fifth instead of Joshua Bell and state of the art recording techniques?) I tried several types of preamp distortion to get a more 'lofi' sound but it all sounded 'electronic' and not so usable.

That's been my approach for piezo electronics on an acoustic. IRs function pretty much as an EQ with cabinets seeming to add little more "space" to the sound but they're generally the same thing. Tried a couple of IR loaders and the Audio Assault referenced by @msmcleod contains modules for additional inline processing. It was only $7 and the Gain/Volume was useful as IRs seem to knock the output down quite a bit. Still haven't found what I'm looking for.

Great question. Theoretically, none. but perhaps IRL, it might come down to the quality of the instrument being sampled and the player's technique. There are times where you want something that sounds like it's been hanging on a barn wall for most of the week and only gets pulled down for a trip across the bayou for some Friday night hoedown. Might have to check for a "cajun" preset in iZotope's Trash.

you may have seen these, https://www.3d-varius.com/impulse-response-acoustic-instrument/ some useful notes in this example. https://www.kvraudio.com/forum/viewtopic.php?t=529591 The link includes an example, not much on -why-, but let your ears do the thinking... Going down this rathole atm. Recently moved from an absolutely gorgeous space for recordings AGs, trying to find an acceptable workaround in the new space. Had briefly looked at IRs in the distant past along with sampled AGs, never got past the initial efforts none which sounded good enough to use (could be the user...). Hoped the Nembrini might offer something more for cheap and cheerful takes, but @msmcleod reminder on IRs pretty much shot that down. IRs sound better but so far still a bit of a compromise unless buried in the mix..

What electronics are in your Taylor? They seem to have tried several configurations, starting with Fishman and now promoting a Taylor branded "Expression System".

just an opinion/observation here, but the challenge of maintaining a PC based DAW seems to require a fairly high degree of competency to manage; 1. a wide open computing platform (best bang for the buck, mostly reliable, but with a greater range of potential issues than a closed system) 2. running on an O/S with a well documented tendency to shoot the user in the foot on a regular basis with unvetted and poorly scheduled updates 3. trying to keep up with demanding realtime processing via 3rd party audio interfaces with varying degrees of driver quality 4. using a very full featured DAW with options on options for configuration and workflow (nice but... ime with the potential to generate dependencies on dependencies given a creative user base with a wide range of personal preferences. There's a school of thought that believes limiting options improves reliability/stability. The general focus on stability/improved feature set of CxB releases since Bandlab tends to support that philosophy. In addition, the workflow enhancements have enabled such a high degree of productivity I feel I'm outstripping either the hardware or the DAWs ability to keep up (speed comping is a great example). 5. loading said DAW with a host of 3rd party (= unvetted) VSTs that may or may not be compliant with a standard. (understood it's documented, but implementation seems to have some loose ends?) Cakewalk has been super wrt to sorting these out, with both highly reputable devs as well as a few newer less well known ones. FWIW, this forum has been more helpful than any other resource for sorting out issues, but still spending more time than desired on troubleshooting. Been thinking about documenting a "Dropout Diary" to distill known good remedial actions into a disciplined checklist, if for no better reason than to stay focused for the next time. ... There are times/situations when tracking to tape seems more productive. ?

Noted this with tempo maps. Had a client wanting to revist sides from several years ago. The old tempo maps were updated with a set of "jumps" which I ended up deleting in order to put in a slope. The projects have been stable once reworked to align with the new features. The update is a much appreciated improvement.

Confirming this, and even more pronounced when checking the magnetic over piezo. Agreed on the beyer, but the SM57 did sound familiar, have used that in the past to get a track to cut through in a mix. For the demo track I checked, the AY DSR worked better than the others, with the Martin coming in 2nd. I think the point is there is enough variation in the models to offer a wider range of options. However, none of the models sounded "realistic" on their own, much less "studio grade Pro". While this could be productive for quick demos, etc, will take a look into IRs, thx for the link. Thx, had not considered that. Tweaking the Fishman/Nembrini helped more than expected, but hardly plug and play.