bitflipper

I am always encouraged to see young people adopting classic rock, and these folks have done an exemplary job of interpreting one of the greatest classics of all time. Note the refreshing absence of over-the-top post-production, auto-tune and reverb washes. Just a legit live performance from some extraordinarily talented and dedicated musicians. The principle lead vocalist even manages to project in the original keys, showing great technique. And of course there's the YouTube-famous drummer grinning all the way through, just like Keith used to do. I literally shed a tear during I Can See for Miles (22:20), it was that good.

I stand corrected. I guess I just assumed it was a new product because I hadn't seen it before. Then again, I didn't even own a pair of decent headphones until c. 2004-2005.

I didn't so much jump off the train as simply sit back and watch it leave the station without me. That was about three years ago, when I realized that Black Friday had come and gone and I hadn't bought anything. Since then I've picked up a few too-cheap-to-ignore sample libraries and that's about it. Although I have to admit to one relapse, having jumped back on very briefly to buy ProQ-4 on release day. But I don't regret it, and it'll likely be the only purchase I make over the coming year.

I didn't know those were so cheap! The only time I've heard them was at the Sony booth at NAMM, c. 2008. They sounded wonderful. At the time they were a new product, and when I asked the rep what they retailed for, he said $500. I set them back on the rack and moved on.

It's a generally-accepted principle that whatever your speakers are weak at is what your mixes will overcompensate for. Usually, they're talking about deep bass. If your monitors can't reproduce very low frequencies, then gauging your mix's bass levels can only ever be a shot in the dark and likely to come out too hot. Conversely, speakers with hyped bass will encourage bass-light mixes. Consequently, the "you can make anything work" concept assumes that your budget speakers/headphones meet at least bare-minimum requirements. Laptop speakers and stock Apple earbuds will only ever translate by accident. A good example is Audio Technica's ATH-M50, a longtime favorite for cheap-ish (~$150) but good-enough headphones that will do the job pretty well. They are far from flat (no headphones are), with hyped bass and uneven highs. But spend enough time with them and you can create well-balanced mixes. Personally, I'm a speaker guy. For me, headphones are either a secondary reference or for fine editing. But then I don't mix in hotel rooms or on the beach. I'm always in the same space, seated in the sweet spot and surrounded by absorption. Consistency is the key, regardless of what you're listening on. That's because the HS-80s are rear-ported speakers, which can cause bass buildup between the ports and the rear wall. I've seen the benefit of moving them away from the wall first-hand, and it was a dramatic improvement. They didn't get stronger bass (they're still relatively small enclosures) but the bass response was smoother and flatter. The studio's owner later reported that the quality of his mixes had noticeably improved and he spent far less time fiddling with bass. One potential solution for you would to add a sub and cross it over at a relatively high frequency, e.g. 100 Hz. You could then move the sub around the room until you find the ideal location - it doesn't have to be in front of you or equidistant between the main speakers. One neat trick I learned back when I had a sub was to set it on the chair in the mix position and then crawl around the floor until it sounds good, then move the sub there.

Please start a new thread for comments unrelated to this specific topic (ARA integration into Next).

There is a ProChannel module for tube saturation, called Saturation Knob.dll. It can be found under cakewalk\shared utilities\internal, along with all the other ProChannel plugins. I don't know how it would come to be missing, given that it's part of the basic install. Do you get any warnings when you open a new project? At any rate, you should be able to simply ignore any missing-plugin warnings if you're certain none of them have actually been used in the project (they could have been used at one time but were subsequently disabled). The warnings should go away after saving and re-opening the project. I've often had missing plugins after opening old projects, plugins I'd forgotten even existed. Sure enough, though, if I went through every track and bus I'd find a grayed-out entry for it. Most of the time the plugin wasn't really missing but had been moved to a different file location, in which case you can right-click on it and use the "substitute plugin" option to point it to the new location. When one of your problem projects aborts, do you get any messages at all, or does it just quietly exit? When that happens, is there an orphan process listed in Task Manager? That usually indicates a problem with a plugin that's seriously broken, e.g. missing a file dependency. Such problems can be identified by running a full VST scan (click Reset before running the scan). Any third-party plugins that are missing dependencies will fail the scan. You can also enable logging, which writes a blow-by-blow history of the scan to a log file, making it easier to search for failed plugin initializations.

Well said. I just bought some fancy earbuds last week, for stage monitoring. At first I was disappointed that at $400 they sounded way worse than my $200 Sennheiser headphones. But after several hours listening to a wide selection of music, and then using them during a 3-hour band rehearsal, I concluded that they didn't sound that bad after all. They're gonna work out just fine. I had the same experience when I had to replace my studio monitors in a hurry, to replace a pair that had gone *****-up. With no money set aside, I settled for some speakers from Focal that were noticeably less flat and bass-light than their predecessors. No, these aren't the good Focals that I'd lusted after since the first time I heard them, but a far cheaper entry-level model. Yes, there were translation issues at first, as I foolishly tried to compensate for their weaknesses with EQ. But after a couple years with them, I actually like them quite a lot now and have no issues with translation.

I know, right? But I'll not speculate whether that's the name his mother gave him or a nom de guerre, lest I violate some rule.

This is a point I've been making ever since I read Floyd Toole's excellent book Sound Reproduction. Regardless of whether you have high-end speakers in a well-treated room or you're making do with cheap headphones, your own brain will, given time, come to recognize what a good mix sounds like on those speakers. That's why I always recommend spending a few hours listening to your favorite records after you've bought new speakers or headphones. Many people (incorrectly) believe that speakers sound better after they've been "broken in", when in fact they just sound better because your ears and brain have become accustomed to them and will automatically compensate for whatever those speakers are lacking. Always feels good when an undisputed expert agrees with you.

Love those kinds of gigs, the ones that end at an early hour. Seems to be the trend nowadays. Back in the day it was a rare treat to be done by 1:00 AM, and that's what we called an "early night". Saturday Night Live had been a much-discussed cultural phenomenon for more than a decade before I got to watch it for the first time.

Played a regular gig on the 28th, took NYE off and went to bed early. Great way to avoid homicidal drunks at 3:00 AM. Got together with the band on NYD to hang out and jam. Great way to start the new year.

You sang that, Ed? I'm impressed! "When we go to the circus and see a dancing bear, we're delighted - not because he dances well, but that he dances at all." You're a man of unexpected talents, bapu.

Glad to see 2024 tossed onto the bone pile of the past. Always the optimist, though, I am looking forward to 1 Jan 2026 when we think back on 2024 and think "ya know, it really wasn't that bad, compared to 2025".

I had some reservations going into this one, partly because we'd be opening for another act and there'd be the stress of quickly tearing down, but also because it was outdoors. In December. Like, seriously? But we took the gig anyway, based on the venue's assurance that the stage was heated and that they've been doing this for awhile. And somehow managing to get patrons to pay to sit in the cold and listen to music. I did not change into my usual stage clothes, preferring to keep my sweatshirt on. But it actually worked out OK. The stage and seating area were indeed heated with large radiant fixtures. It was a little cool, but not to the point where fingers stiffen and voices shake from shivering. After a couple tunes I forgot we were outdoors. The biggest issue was with their PA. We do not use amps on stage other than monitor wedges (and my plan is to go completely silent in 2025, once I convince the others that in-ears are better than wedges) and run everything into the board and the mains. In order to pull that off, I have invested a not-insignificant amount of $$ into our PA. With everyone going through the PA 100%, I can confidently mix the band from the stage. Plus, adjusting the overall volume of the whole band is as easy as turning up or down the radio in my car. Most places we play where there is a house PA, their hardware is over-spec'd and they can easily accommodate us. Not last night. Theirs was a hodgepodge of garage sale reject speakers with a few higher-end pieces. When I met the sound guy and told him about our setup, he was, um, a little displeased. He said they'd just had two monitors repaired after being blown out from running bass through them, that the mains wouldn't do much better, and who the hell told you this would be OK? I told him to roll off the low frequencies on the monitors, since that range would be augmented by the mains. He gave me a look that said "wtf do you know about any of this? Can't you see *I'm* the one with the iPad?". So I just let him be. In the end, the audience did not get what I'd call a high-fidelity experience, but at least we got some compression out of the overloaded system that made up for the lack of any intentional compression. Plenty of compliments from the crowd afterward, which I chalked up to lowered expectations. I took some comfort from the headliners - friends of ours - sounding just as bad albeit twice as loud, and the audience didn't seem to notice. Seems I was the only one there who was disappointed. A post-gig cheeseburger cheered me right up.

You don't often hear this guitar maestro's singing chops, but he does pretty good for an old codger. But keep listening, it's the bass player who steals the show vocally. The drummer's no slouch singing, either. What a f*ck'n awesome band all around. I do a lot of faux guitar on keyboard, but I have never had the nerve to do it in a live situation when there's a real guitar player on the team. Can't even imagine having the balls to do it alongside such a legendary picker. But this fellow pulls off the second guitar part in Apache with panache. (Note that despite being the son of David Crosby, he became a non-singing keyboard player. It would seem that musical genes are plastic in the neurological sense.)

Is there more than one "Steinberg ASIO driver"? What I am using is named "Yamaha Steinberg USB Driver" (v. 2.1.7). It was a prerequisite for using my Yamaha mixer as an audio interface. Yes, it does seem that by design you can have only one ASIO driver enabled at a time. I use it only when recording through the Yamaha and switch to WASAPI when I'm using my Focusrite. But all that is to accommodate outboard hardware; I would not expect a software tool such as Spectral Layers to be picky about the audio driver. Then again, it's Steinberg.

Sorry, I could not repro. Try the ExceptionHandlingSeverity variable and see if you get additional warnings before the fail-to-open dialog.

Glad to. But I'm gonna need GPS coordinates, to avoid sending my positive thoughts to some undeserving recipient by accident. Better yet, let's make some pretty electronica in the Wookie style so that he's got something to listen to during recovery. If your composition is good, it'll inspire him to get up and start doing it again. And don't worry if your composition sucks, as that may provide even more motivation.

I have not seen this, but I'm willing to try and reproduce it. Could you provide more detail about your bounce process, e.g. are you combining tracks, embedding fx, creating a new track vs. bouncing in place? You might get additional information by enabling more detailed error reporting. Here's how you do that:

Thanks for the heads up, Zinc! I don't check for updates often enough. Went in and found there were updates for Keyscape and Trillian as well, including a new patch for Keyscape: Wing Upright Saloon.

I was once convinced that I'd gone on a blind date with one. Turned out she was just Scottish.

It does not overwrite previous versions, so any projects with v3 will be fine.

Until the inevitable Dan Worrall demonstration. If you can resist that, you are a better man than me, Tom.

For me, it does. Although I assume you meant "pretty", not "petty". The former refers to its brilliantly ergonomic user interface that lets you dial in EQ very quickly. The latter means, um, something more snarky?