bitflipper

Don't get your hopes up, Geoff. My daughter's over 50 and despite working in electronics for 20 years still hasn't figured out that light switches are binary devices.

Yup, not a Windows issue. Modern monitors just don't scale like CRTs used to. Consequently, the biggest display isn't necessarily the best choice. And sorry, there isn't going to be a software solution. One potential solution is to add a second monitor that's a lower resolution, for ease of reading. I have three monitors: 34" for the track view, and two 22" displays for plugins, Melodyne and the PRV. If something's hard to read in one window, I just drag it into another. I can live with the small text in the track view, since I know where everything is. It's mostly synths and fx plugins that make me squint.

Short answer: no, it doesn't matter. But it doesn't hurt anything, either. I guess that's just another way of saying it doesn't matter.

Yes, they were sold to an investment company. Never a good sign.

We have somebody in our midst who could shed light on this, particularly why they all went away at once (industry consolidation would be my prime suspect), and that someone would be Craig Anderton. However, he doesn't waste his time down here in the CH and probably won't see this thread. I think I'll extend an invitation via PM.

It's all my fault. I used to buy most of those titles on a regular basis. Then they closed the nearest Barnes & Noble, making it less convenient. Couldn't be bothered to drive the extra distance. I accept culpability for my part in the demise of music magazines. OTOH, maybe it's your fault. You said it was a "time-filler'. Does that mean you were one of those people who read the mags but didn't buy them? Left the racks in disarray? Mixed up the drum mags with the keyboard mags? Or worse, stuffed the music production mags behind Cream and Rolling Stone?

I am not in the habit of playing virtual instruments while recording, having long ago established a methodology wherein I play and monitor hardware synths, record their outputs as MIDI and only apply soft synths after all performances have been recorded. That way I can keep buffers at max all the time while ignoring latency entirely. The only time I'd ever lower the buffers would be when experimenting with a new VI in real time. A couple weeks ago I was doing just that and had set my buffers to 64 samples, IMO the practical maximum for realtime playing at 44.1 KHz. Then I simply forgot to set them back to their normal values. By the time I noticed my mistake, I had a full project going with multiple heavy-duty samplers (Trilian, Kontakt, Superior Drummer) and fx, including Ozone. Sorry, Noel, but it didn't occur to me at the time that I owed all that to improved DAW efficiency. Knowing that it's now practical to track with smaller buffers will likely change the way I do things in the future. Way to go, Team Cakewalk!

It's unfortunately a common problem with many controllers, not just MAudio and not even just cheap controllers. Check your owner's manual, as there may be a trim adjustment inside. At any rate, it's unlikely to be a software problem.

Best line in the movie: "I pity your wife if she thinks six minutes is forever".

Brilliant! Even if that recording wouldn't have actually fit on a 78 RPM record. Coincidentally, just minutes ago I watched a video about Scott Joplin and ragtime, stride's progenitor. That and then this made me want to boot up the Kronos and jam out some old-timey piano...then I realized that despite my rather extensive collection of piano libraries, I have nothing that sounds quite like this. What is it?

Cool. It's been over a week since the last time that happened. Still getting my money's worth from those blotters in 1970. Now I gotta warm up the ol' lava lamp and try it again.

This beats October's National Sarcasm Month by a long shot.

Thread closed by OP until October 2020, contingent upon whether or not significant sarcasm remains in the world by that date.

I know you're as lazy as I am, Craig, so here's a handy shortcut to creative B.S. https://sebpearce.com/bullshit/

I have three: the one I use, the broken one that's still in the rack because it looks cooler than a panel blank, and the other broken one on the floor that's propping up an amplifier.

Are you sure about that? I've got 20 years' worth of advertising that says otherwise.

^^^ Scott is underselling himself here...I've seen a couple of his tutorials and not only are they well done, the lessons are applicable to many genres, not just metal. They might be a little more advanced than what the OP is looking for, though.

Everybody's allowed a screwup once in awhile, Wibbles. We gave you Hendrix, you gave us Johnny Rotten. We sent over the Dixie Chicks and got Spice Girls in return. Or was that in response to the Backstreet Boys? Whatever, the musical trade balance averages out in the long term. Even if we tend to keep your best musicians here once they've become successful (apologies to Canada, Ireland, Germany, Sweden and France too). I think we're done with Gary Numan, though; you can have him back if you like. We're keeping Knopfler, though.

I recently installed B3-X with no issues. At least, not with the installation. That was on 10/1/2019, so it would have been with the old scanner (current one is dated 10/25/19).

Hey, he sent his expensive car already. With a crash test dummy at the wheel. What more do you want?

^^^ This. It's a hard pill to swallow, but everybody has to eventually accept that presets are just for synthesizers - not for track fx or mastering. Even if you have, say, a favorite reverb preset it will almost always need to be tweaked to fit the need. The path to mixing and mastering nirvana is learning how plugins work. Lots of study, trial and error, and in the case of mastering, objective measurements. Sorry, there's no viable shortcut to the process. Limit the number of plugins you use: one EQ, one compressor, one reverb, and then learn everything you can about them. The good news is that most online tutorials are applicable to any DAW, as the principles are the same for all. No need to search out Cakewalk-specific tutorials, unless you're looking for advice on plugin that's specific to Cakewalk such as the Sonitus suite. There are a great many folks posting YouTube videos on the subject, from home recording enthusiasts to professional engineers to music software vendors such as iZotope. You don't need to use a vendor's products to get value from their instructional videos, because again, the principles are universal. Just don't get sucked into the advertising message that you need those products to make a good mix. You really don't.

That would have been funnier 3 years ago. Now it seems within the realm of possibility.

Just wait until Elon Musk starts shooting paying passengers into space. Which wealthy pop stars would you like to see buy a ticket? I'd pitch in a couple bucks to help Kanye West score a seat.

It's not bad. Pleasant-sounding. But also nonessential, being just a delay combined with a chorus. My first thought while using it was that there must be at least a dozen other ways to accomplish this using effects that everyone would already have. Now, if you're looking for something truly innovative, check out the overlooked Moodal effect. It's definitely a niche product, appealing to that small overlap between users who enjoy extreme sound-mangling and nerds who have the patience to figure it out. It's so out there that even its author struggles to describe what it does. As did I.

Use code 5YEARS for the discount. Good through the 31st of October. These are some unusual effects. The real winner is the delay plugin, tkdelay. It's my go-to delay for vocals. And I've got a LOT of delays to choose from.