bitflipper

And I have a choice to make on where to take my vacay, Fiji or the Bahamas. Rich peoples' problems, am I right? My kneejerk reaction is that once you've distressed the hell out of it, any remaining nuance from microphone choice would be minor. So go with the D112. Why? Because you can't hurt it. Even if The Hulk is smashing the drums. But then who am I to say? I use samples. And Toontrax used mics that cost more than my first house.

Given your specs, two VSTis should be well within your system's capabilities. I routinely work projects with literally dozens of VIs, and my system is less powerful than yours. Your issue may be external to the DAW. While it's processing audio data, the CPU is also busy with background tasks that compete for attention. If some other process is excessively chewing through CPU cycles it'll be almost pointless to optimize the DAW. One category of potential CPU hogs is overhead from interrupts. A tool exists for getting DPC stats (Deferred Procedure Calls, meaning the software that runs in response to an interrupt), which can help pinpoint the culprit(s). Hop over to respendence.com and download their free LatencyMon tool.

I spend a lot of time bending MIDI notes, typically with faux basses and guitars. It's a hassle. I usually end up drawing in the pitch wheel events by hand, moving them as needed and zooming in to PRV to make sure it returns to zero just in time for the next note. It really only works reliably when the synth's bend range has been set to the interval you want. That assures that when the pitch wheel hits its maximum value, the oscillator will land on the target note. Great if your bass line is in a polka, going from root to 5 and back. Unfortunately that's not my kind of bass line. Fortunately the pitch wheel to oscillator relationship is (normally) linear, so if the synth's max bend is 12 semitones, the halfway mark is 6 semitones, and you can calculate the precise value to hit it. This is what Fluid Pitch is doing.

This sounded like such a great idea when it came along that I bought it immediately ($30, iirc). And never used it. Two years later, they had a sale ($30, I think). Forgetting that I'd previously purchased it, I bought it again. That was two years ago. Still haven't used it. Decided just now to give it a go, out of respect for the 60 bucks I've given them. Now, if only I could get it to work. Inserted it as a synth, because that's what the scanner says it is, but only the MIDI part. Made sure MIDI Out was enabled. Inserted an instance of Zebra2, just the audio part. Set its input to Fluid Pitch output. MIDI notes come through to the synth, but wheel events are not constrained as expected. It would have been quicker to just define the pitch bend range in the synth, even automate it if necessary, so at this point I'm not convinced Fluid Pitch is worth the effort. Unless, of course, you're doing microtonal music, which seems to have been the inspiration for the effect, seeing as it's from an Indian developer. Still sounds like a great idea, though.

Unfortunately, the dump file may not contain any information that'll be useful to the Cakewalk support people. A dump is just a raw snapshot of what was happening at the time of the crash/hang. It will identify which module was in play, but little else without a symbol map to correlate addresses to parts of the code being executed. Said symbols are only going to be available to the developers of the plugin, not to third parties such as DAW vendors. This why when a plugin fails you usually have to contact the original developers for help. There have been cases in the past where the issue wasn't technically a bug in the plugin, but rather in the way it interacted with the host. There have been cases in the past where Noel & Co. were able to code a workaround that avoided the problem. But these are exceptions to the norm. Usually, only the original coders can address the problem. Somebody can correct me if they know otherwise, but it seems Sonic Timeworks is defunct. Which is a longwinded way of saying you're probably out of luck. I know, it can be aggravating to have to let go of a favorite plugin. I was unhappy when Kjaerhus abruptly vaporized. iirc, that developer had also created at least one of the Sonar plugins that had to die as well. It's a fact of life that specialty software companies generally do not enjoy long lives. Cakewalk's own longevity is an anomaly, and even its doors were shuttered for awhile.

For me, it's usually my own cognitive resources that run out before the computer's. For example... Let's say you edit a vocal, reckon it's done and commit. Like the confident badass you are. Then, three days later something just sounds "off" and close examination reveals that you'd accidentally adjusted a blob that didn't need adjusting, because you've committed the ultimate pitch-editing sin: making a choice based on the picture without closely listening before and after. Now you have to re-edit the clip and re-commit, something I am loathe to do. Melodyne's good and its artifacts are subtle - but it's not perfect, and artifacts compound with each re-scan and bounce. It's at this point that you're glad you only have to re-do a 1-second phrase and not an entire vocal take.

You'll have the best experience editing smaller clips individually and bouncing them back to audio as each one's finished.

To aid your google searches, the classic term for drawbar settings are "registrations". Try searching on "Hammond registrations", or "Hammond registration {specific song}". A few that people seem to always ask about...Whiter Shade of Pale: 88860000; Booker T and the MGs (e.g. Green Onions): 88880000; Santana (e.g. Evil Ways): 88860088; Keith Emerson, Vanilla Fudge, Steve Winwood: 88888888 Don't forget to fiddle with the vibrato/chorus settings. The majority of classic rock songs don't use percussion, with a few notable exceptions, e.g. Green Eyed Lady.

Could you be logged in under a different Windows user name?

Yeh, it does sound surprisingly good. I might actually use this. Odd it doesn't include a volume control. That's going to make it difficult to integrate into a kit. No, the $20 Pro version doesn't have one, either. All the parameters are automatable, though, so you could make it simulate different cymbals on the fly.

I get most of mine from Sweetwater, but only because I am lazy and a creature of habit. They're expensive - my local music store is cheaper - but the quality is good. Never had one fail. But those prices at Seismic Audio are good enough that I could afford to buy spares, making it seem like a safe gamble. At the moment I have two critical cables in my gig bag that have no backups (25' TRS to XLR, keyboard to QSC K10.2s), so I'm thinking I might pick up a couple spares since they're only $17 each. Thanks for the tip!

Bzzzt! Wrong. The correct answer is "Why Don't We Do It In the Road".

I was doing great up until the half-second samples. I was surprised that I got any of those. l was hoping for some easier clues, like the opening chord to Hard Day's Night. But no, he had to throw in Julia. Well, at least he didn't include "Run Like a Shadow".

You won't regret it. I initially thought the Fiddle was just a one-off novelty. It isn't! To my surprise, it's proven useful in genres beyond bluegrass, including classical orchestration where you'd layer a solo violin over a violin ensemble for melodic definition. Loved Merry Maggie, btw. The Fiddle would fit right into that one.

OK, Beatles experts, you think you're so smart - try this one:

Sadly, 30 years ago you either couldn't afford the stuff you have today, or it didn't exist yet. 40 years ago I desperately wanted an Oberheim 8-voice, but it cost as much as a new car. Today a faithful recreation of that instrument sits on my hard drive and cost me, iirc, less than 50 bucks. Back then I was gigging with an electronic piano (Roland EP-30) that only kinda sorta sounded vaguely like a piano. Today I have dozens of pianos on tap, including multiple Steinways and Yamahas, both on disk and in hardware synths. There's never been a better time to be a music-maker than now.

You know how they put all that useless crap on display in the checkout line at the supermarket? They're hoping you'll make a dumb impulse buy just because you're bored waiting in line. Ooh, a flashlight that's also a keychain! I could use that. And it's only $7.99! Well, today I was using DDMF's Plugin Doctor when it popped up with a notice that an update was available. So I popped over to their site and found myself at their own impulse-buy rack. I saw a product called ChordDetector. Ooh, that could be handy. And it's only $15! The idea is that you play a wav or mp3 and it shows you the chord progression. Sounds reasonable. I mean, Melodyne can do that, right? A potential timesaver at band practice. Problem is, this thing just flat doesn't work. I gave it simpler stuff to analyze, such as an unaffected acoustic guitar file. It made no difference. C | Bbm | E | Bbmaj7 | C#m | Gm just ain't a thing. Not in my universe, anyway. And that was my own composition, so I knew the chord progression was Em | G | D. I feel like I just got home from the supermarket, proud owner of a flashlight that's also a keychain. One that doesn't light up and won't hold keys.

AKA the first annual "Please Come Back, We're Sorry and Won't do it Again" sale.

RE: Bruno Youtube says it's turning the audio down by 48%, and that the original had a loudness of 5.6dB. That's not -5.6dB, but +5.6dB, meaning 5.6 dB louder than their preferred target. Contrast with this video, which YouTube did not turn down. Listen to the crispness of the drums and guitars, and the clarity of the vocals.

That's how I'd do it. If you want to make it permanent and get rid of the plugin, freeze / bounce with fx applied. Channel Tools can also adjust the relative volume of left and right, if that's the main objective.

Clever workaround! I wouldn't have thought of that. I've made no secret of being an Indiginus fanboy, but have to admit the articulations are limited. But for budget $59 instruments it's to be expected that there might be some limitations. But for just 20 bucks more, have a look at the Slide Lap Steel from Orange Tree Samples. It makes it easy to bend up to a target note. Even when playing more than one note you can make each note conform to the scale. Both it and the Slide Acoustic, which has the same capabilities, are currently on sale as a bundle for $129.

I normally greet all dynamics processors with a big yawn and treat claims that any of them does anything magical with great skepticism. I long ago settled on a couple compressors for everything and haven't ever wished there was something better. But I gotta admit this one's piqued my curiosity. Seems this would be best suited for the master bus, since it's only in the context of full-range material that LUFS makes sense as a leveling reference. I can't imagine, for example, that it would be particularly useful on a vocal or bass track. Only one way to find out: I've downloaded the demo. Kudos to Aaron for offering a 30-day uncrippled demo. I have a question for Aaron - what's the music used in the demo video? I like it.

Just add random pitch and tempo modulation to your finished track. It will be original. Nobody will want to listen to it, but it will be original.