bitflipper

Thanks! I knew there had to be a way. This is why musicians should not design software. Or skyscrapers, for that matter.

Love the tune, Keith. But yeh, gotta agree it's too loud. My ears are surely not golden these days, having been tarnished by too many decades on the stage, but even I can hear the distortion. Tom, I understand; you're a guitarist and tube devotee, so distortion is your native ecosphere. Tom does understand the math, though, and he's right about limiting for MP3 encoding. Mathematically speaking, you can only guarantee no overs in an MP3 by setting the hard limit to -3 dB. That's a little extreme, though, and -1 dB should soften the blow a lot.

Just visited my Soundclick page this morning to upload a new tune. I hadn't been there in ages and since my last visit they've totally redesigned the site. Now I can't figure out how to replace a file with a newer version. You can add and delete, but not replace. Kind of defeats the purpose of posting works-in-progress for your friends' comments. Anybody know how to replace an existing song with a new mix?

I just got a new headphone amplifier today, and have been surfing around looking for high-fidelity content to test it out with. I thought "hmm, I should find one of Jerry's tunes, that'd be a good test". And yay, here's a new one. Thank you, Jerry! No critique, just "thank you, Jerry". Love your stuff.

I have run into similar situations many times in the past, where Windows was insisting that a file was open even though I was sure I hadn't done it myself. On rare occasions, it was the O/S' mistake, but those always involved files on remote servers and required rebooting the server to resolve. However, the other 95% of the time it was a legit sharing violation involving some process/file association that I wasn't aware of. Every time, the tool I used to troubleshoot the issue was Process Explorer from sysinternals.com. Give it a shot.

When I started using EBU standards as my guide, the first thing I did was go through all my old mixes and see how close they'd come to meeting those targets. Surprisingly, most weren't terribly far off the mark. But I noticed that some of them were way too "quiet" when objectively measured. In particular, pure orchestrations tended to fall around -20 or even -22. "Now, that won't do!" I thought, and proceeded to pull them up to match the rest. To my dismay, those pseudo-classical pieces sounded just awful when raised up to match the pop/rock stuff. At the other end of the spectrum, some of the already too-loud mixes also suffered a little when turned down. Worst of all, when concatenated into an album, the subjective volume variation seemed to get worse, not more consistent as expected. The lesson learned: yes, it really does depend on the song: its genre, instrumentation, tonal profile and even its arrangement. Of course, loudness levels should at least respect if not conform to standards for movies, streaming, radio and television. But trusting a meter exclusively can have its own perils.

People use ASIO because it's efficient, allowing for reduced latency. However, latency is irrelevant to playback. These days, I use WASAPI for the reasons given by Noel. Some very large projects can take 10-15 minutes to load, so I often listen to music or watch Dave Gorman on YouTube while I'm waiting.

Isn't Bose a local company? I used to pass by a large building emblazoned with "Bose" across the front, back in the day when I'd spend a lot of time in Framingham and Natick. I'd always assumed it was Bose's engineering department.

Dismisses LUFS in this video. Blasphemer! Sure, the guy is best known for loud mixes (Metallica, Red Hot Chili Peppers, Green Day) but he's also mixed Rodrigo y Gabriela, so there ya go. Any time he speaks, it's gonna be food for thought.

It might not help much, but if sympathy counts for anything know that many of us know exactly how you're feeling because we've been there ourselves. I love dogs, but I've not been able to bring myself to get any kind of pet since the last time I went through that agony 18 years ago. It was that traumatic. Maybe your next pet should be a tortoise. Granted, they're not nearly as much fun as a dog, or even a self-absorbed cat. But at least a tortoise will likely outlive you.

Does this happen as soon as you request a new instrument track from Cakewalk, as opposed to during playback? Does it happen in a brand-new project with nothing else in it? Have you successfully used this instrument in previous projects? Is there any difference between creating an instrument track versus separate MIDI and audio tracks? My first thought is something may have gone awry during the instrument's installation, perhaps resulting in some missing dependency. It might be worthwhile to re-install it. Make sure you re-run the scanner after reinstallation. I'd also suggest looking in the Windows Event Log, a long shot but there could be useful information there.

Well, after the successes of so many frivolous copyright lawsuits in recent years maybe you should get a lawyer.

One of the main differences between reverbs is whether or not they offer independent left and right signal paths. The ones that do are often referred to as "true stereo" reverbs. Many (most?) do not, instead combining left and right and then spreading the generated reflections across the panorama. Both types, however, are innately stereo effects and as such neither will allow you to completely pan hard left or right without some additional post-processing. This, of course, is meant to emulate how acoustical reverb works in the real world. A violin, for example, is a point source with a well-defined position in the panorama. Its reflections, however, scatter about the room and come at you from different angles. That's how artificial reverbs work, too. That said, I too like to emphasize reverb on the opposite side of the panorama from the instrument's pan location. It doesn't sound natural, but can help widen the mix in a pleasant way. If that's your goal, let the reverb plugin do its thing but insert a stereo panner after it, such as the Channel Tools plugin. Or my favorite, Boz Digital Labs' Pan Knob, which makes pan automation easier. OT: Given your predilection for unnatural reverb panning, let me suggest another cool trick you might like: use an autopanner after the reverb, such as the freebie from Cable Guys.

Windows version doesn't matter. Windows 95 would act the same way. What's happening is you're trying to overwrite a file that's already open for writing by another program, something Windows won't allow because doing so would compromise file system integrity. Easiest way to avoid this with cwp files by making sure that only one instance of Cakewalk is open at a time, and that Cakewalk is configured to only have one project open at a time.

Whenever someone asks me if I'm an idiot (frequent occurrence), I respond by saying: "If I was, would I possess the requisite comprehension, self-awareness and perceptivity essential to determine this fact?" - UbiquitousBubba

C'mon, that's really a ventilation shaft for your underground bunker, right?

CW makes no distinction between a sampler and any other type of software instrument, so the problem isn't that it's a sampler per se. Usually, when a plugin isn't detected it's because the DLL was installed into a folder that the VST scanner wasn't told to look in. Figure out where it resides on disk, then add that path to the scanner's list of places to look, as detailed in scook's link above. That should solve your problem.

The album only exists on vinyl. We've talked about digitizing and remastering it, but don't have the original masters. Plus the tapes wouldn't do me any good anyway without a deck capable of playing 1/2" 8-track tape. However, I think I may still have a never-played copy of it in a closet somewhere, still in the shrinkwrap. We could probably pull a decent copy from it - if I had access to a really good turntable. Which I don't. And yes, RBH, IIRC it was a CP-70 that belonged to the studio. They laughed when I brought in my Roland EP-30 and said here, try this instead.

Thanks for that. Dang, the Philippines' daily cases are as high as, um, Florida. That's bad. I actually expected it to be even worse due to the population density of urban areas. However, much of the archipelago is rural, farming country where one would hope transmission would be slower. That's turning out not to be holding true in rural America, either. The good news is that Filipinos can retreat to the bundoks - as many did during WWII - where the transmission rate is much, much lower. Unfortunately, the Cordilleras are a long way from Øyvind's neighborhood.

I went into the studio on May 18th 1980 to support my friend's first album. I haven't heard this since 1980. I played piano and the faux-flute (on a MicroMoog), and arranged the backing vocals. My pay for that session was a TEAC 3340-S. BTW, that's my old Rickenbacker in the photo. I had just sold it to Lee for $400. He turned around and sold it the following week for $1200. What a dick. But still my best friend after all these years.

And to what degree has the virus impacted your island? Or rural areas in general? I worry about my family there, even though they're on a remote island. As you note, they are an intrinsically social people not inclined to self-isolate.

My state's been voting exclusively by mail for more than 10 years. Works pretty well, but it does encourage cheating - I always look up the answers.

There are far worse places to be stranded. At least you can't starve there. Or freeze, which may hold more meaning for a Viking. I was recently watching ABS-CBN and they were showing footage of Manila streets. Talk about surreal - it was like the opening scene of 28 Days After. No traffic. You can't comprehend how strange that is unless you've experienced the hell that is Manila traffic. BTW, some cheap but quite decent acoustic guitars are made in the Philippines. Ask around.

I had to go back and re-read that review to see if Imperial Delay had indeed been over-praised. To quote the article itself: "Maybe". But here's a genuine testimonial: this is the only product I've ever gone out and purchased after having been given an NFR for it.

I have loved Eventide hardware since the 80's, even though it was out of my price range back then. Today I would have every Eventide software product, if not for my no-iLok policy. If anyone else is similarly put off by the iLok requirement, tritik's new Irid isn't as pretty but has a nearly identical feature set and (to my ears) a very similar sound.