bitflipper

Well, they usually start the evening as adults and then regress as the night wears on. Although I am indeed an old fart, the people I entertain generally are not. Folks my age have better things to do than go out to bars. Like sleeping.

I play in a bar band. You have to be 21 to enter a bar. Therefore, everyone I entertain is an adult. Does that not make me an "adult entertainer"?

I have done that in Sonar, but it was years ago under 8.5 and I don't recall the exact steps anymore. Nowadays, I would prefer to use a plugin designed specifically for that purpose, which is much more convenient and saves having to create two extra tracks. Some plugins that do "micropitch" shifting off the top of my head... Little Alterboy by SoundToys VocalBender by Waves Micropitch from Eventide Provocative from Boz Digital Labs (recommended) ElastiquePitch by zplane There are many more, including some that are free. Google "pitch shifter". There are also a number of delays that offer pitch-shifting in the feedback loop, which creates a similar but more subtle effect. My favorite for that is tritik's tkdelay. Also note that this effect is basically what a chorus plugin does. I can get a similar result with Ubermod from Valhalla (a great plugin that should be in everybody's toolbox, imo).

Some reverbs and delays have built-in ducking. One of my favorites is tkdelay from tritik. Toraverb from D16 Group is another. You don't get as much control, but it makes the process very quick and easy. Of course, this method really only works when you're using the reverb as an insert on a track rather than as a bus effect. You can also use the sidechain trick for other things. Most commonly, it's used to quickly dip a bass in synchronization with a kick drum. But you can do lots of other things. For example, route all your instruments to a bus, put the compressor there and sidechain it to the vocals. With a slow attack and release, it will subtly lower the instruments while the singer is singing. Another creative application is to put the compressor on a synth playing a pad, and modulate it off the drums so that the pad modulates in time with the drums. Once you start playing around with the technique you'll think of all kinds of novel applications.

Actually, I got the 3340S as payment for a recording session, from a friend who had bigger ambitions than his budget. So although the TEAC didn't cost me anything it did require three weeks of work. Everybody else who played on that record got cash. I got the better deal, I think. I also had a 2-track Pioneer R-R, that I scored from my employer who didn't have enough money to pay me my salary. He went out of business soon after, which is how I came to play music full time in a traveling cover band doing the Holiday Inn circuit. That led me to Lewiston, Idaho, where I met my future wife. Funny how serendipity can sometimes point the way.

In the early 70's I was an electronics enthusiast who gobbled up information from magazines such as Popular Electronics. My hobbyist shop was largely equipped with gear that I had assembled from Heathkit kits, because it was the only way I could afford them. In the process, I learned how they worked and thus began designing my own stuff. My dream at the time was to build a synthesizer. Electronics geeks quickly realized that the individual circuits used in the prohibitively-expensive Moog modular were actually pretty simple, had been around for ages, and were well-documented. I had built most of them myself, but had ongoing issues with oscillator stability - nothing I designed would stay in tune. So I was excited when a company came along called PAiA, which offered low-priced music-related electronic kits. They launched a magazine that could have been tailor-made for me, called Polyphony. It was published every other month, and nothing made my day like finding the latest issue in my mailbox. That magazine got sold to a proper publishing company and became Electronic Musician, so I subscribed to that as well. One of the founders and lead writers was Craig Anderton, a frequent contributor to this very forum. Around 1987, a brief review of a new MIDI sequencer called Cakewalk was published in EM. My eyes bugged out like a Loonytoons character when I read it. But the $300 price tag would be a major investment that my wife would probably not be enthused about. I read and re-read that review many times, imagining how cool it would be to sequence my synths with it and become a creator of electronic music like my heroes Walter Carlos, Larry Fast and king of them all, Isao Tomita. But the stars were about to align for me. I went down to LA to spend a few days training users at one of my company's customer sites, a little company in one of those nondescript industrial parks called Guitar Center. While there I hit it off with their IT guy, a guitarist who shared my interests. We became instant pals. He casually mentioned that if there was anything musical I wanted to buy that he'd get me the employee discount of cost + 10%. First thing that came to mind was Cakewalk. He went to the database and said, "how's $75 sound?". Yikes! I could manage that by eating free chicken wings at the hotel's happy hour bar and pocketing the per diem. So he took me down to their Hollywood store but nobody could find the one copy of Cakewalk they had. But he called another store and they had it. It was on the way to the airport, so I stopped there on my way out of town and left, deliriously happy, with Cakewalk 1.0. I spent the entire flight home studying the manual. I couldn't run it right away because my computer lacked a MIDI interface, so the next day I took a long lunch and picked up a $50 8-bit MIDI card. That was a Friday afternoon. By that night I had recorded my first Cakewalk project, recorded it onto my TEAC 3340S and then mixed down to a cassette. The first of innumerable evenings frittering away hours, joyously making music.

The LatencyMon test shows only that your problem is not being caused by deferred procedure calls (interrupt handlers). That's good, since such problems can be challenging to mitigate. It means something else is hogging the CPU, I/O bus or memory. Assuming you haven't developed a new hardware issue, it suggests it's software that has recently entered into service, such as a newly-installed or recently-updated utility. Start with Task Manager, or even better, Process Explorer from SysInternals. Rank processes by CPU and note anything with a high number, then rank them by memory usage and look for processes that are using large amounts of RAM. These will comprise your initial list of suspects. In your LatencyMon report, it identifies backgroundtaskhost.exe as the process with the most page faults. This is a Windows process that, as the name suggests, runs background tasks. If that's the culprit, it's not the exe itself, but something it's running in the background. Unfortunately, it's used for a bunch of Windows operations, including some that can't be turned off (e.g. Windows Updates). But it does suggest that some background process might be contributing to your laptop's running out of steam. Sorry I can't offer more specific advice. Performance analysis is a deep subject often best deferred to professional nerds. It might be worth your while to have a competent technician have a look.

It works with the Sonitus compressor. In fact, it's excellent for this application because of its bouncing-ball visual aid. But you do need to set the compressor's threshold, ratio, attack and release correctly to get the result you're after, which is to duck the reverb in response to the vocal so that the reverb tail ringing out from the previous vocal phrase gets turned down. Depending on your settings, this can be a subtle effect, a drastic effect, or anything in between. If you're using something other than the Sonitus compressor, it's likely you will have to explicitly tell the compressor to get its sidechain information from an external source. This isn't necessary with the Sonitus compressor. All you have to do is make sure your Send is routed to the compressor's sidechain input. TBH, I don't know how the Sonitus comp pulls this off. It must automatically disengage the internal sidechain when something is routed to its external sidechain. Most compressors I have require switching between internal to external sidechain before this technique will work. A few don't support external sidechain at all. For example, with FabFilter Pro-C you have to expand the sidechain section and click the In/Ext button to Ext. Some compressors do a good job of hiding the external sidechain switch. But if you can't find it, look at the available Send destinations because Cakewalk will know if the compressor supports external sidechaining. Note that the destination may be labeled "Input 2" instead of "Sidechain" or "Side Input".

Before diving into the can of worms that is bridging 32-bit plugins, the easiest solution - assuming it's an option - is to stick to 64-bit versions of plugins and avoid the whole mess. Is there a 64-bit version of the plugin available?

Select the clip(s), go to Process -> Transpose and enter the number of semitones to shift the pitch.

Well, from mettelus' description it does sound like it could be used as a hardware insert in Cakewalk. That would allow you to apply the effects to any track in your mix, which might be interesting.

Are they still disabled if you change the scan option from automatic to manual? I'm thinking maybe they're disabled while a background scan is already in progress.

After moving plugins around, it's a good idea to click the Reset button before scanning. This blows away all the old absolute pathnames stored in the registry before the scan relocates them.

See if you have the "last touched" option selected. That will change the default duration to that of the last note you selected.

I was finally able to pick up the only one I wanted, the Purple Audio 1176. Threw in the Lindell de-esser just to satisfy the requirement of two products. I've been looking to replace my previous go-to 1176, the PSP FETPresser, since PSP started requiring the Pace driver. The Purple Audio version adds more functionality, in particular M/S support and LF centering.

Just this morning I was thinking that it would be cool to add a delay to a spikey Rhodes track that would only affect high frequencies, and wondering if I had something like that in my collection. Hmm, maybe check the Melda folder...sure enough, there it is: MTurboDelayMB. Wait, there's two of them - there's an MDelayMB, too. Pretty much any effect that comes to mind is probably in there.

Get it here. https://www.modernmediacomposer.com/ Yeh, you'll get on a mailing list. Yeh, it requires full Kontakt.

Waay back in the day, one of my high school band's favorite gigs was a Midwest version of a psychedelic lounge - a downtown basement with black walls and ceiling , punctuated by blacklight posters, mirror balls and strobe lights. Oblivious to the obvious optometric health risks, we had black lights across the front of the stage and painted our eyelids with fluorescent paint so our eyes would flash every time we blinked. I'd have my Nehru jacket (that my mom sewed from a pattern from Sears) and beads, my hair as long as the school board would tolerate, feeling pretty hip. This club happened to be close to a school for the deaf. Deaf kids made up a significant percentage of our audience. And they danced. Danced and laughed and seemed to be thoroughly enjoying themselves, which mystified me. So one night I got up the nerve to approach a cute girl from that group and have an awkward chat via an interpreter. She said we were their favorite band, because we were the loudest of all the bands they had in there. In particular, they cited our bass player for being particularly thunderous. Loud enough that they could feel it in their chests. Today, I hate playing loud. My hearing has suffered from a lifetime of loud music. My eyesight sucks and I wonder how much of that was the result of looking into ultraviolet lamps for hours at a time. But I don't despair that the day may come when I just can't enjoy music anymore due to deadening senses. I think about those kids at the Peppermint Lounge and how humans can adapt and find joy despite sensory limitations.

No, I do not use it despite several attempts to do so. I don't like to badmouth software vendors, especially those whose other products range from decent to excellent and are reasonably priced. So hot pokers could not coerce me into identifying Requiem Light as the worst library purchase I've ever made, choir or otherwise.

To be fair, I've paid more for less.

Yes, you're right, it was the old forum. Things are much more civil around here these days. I only mentioned it to illustrate that Waves was so highly regarded back in the day that some could simply not comprehend why anybody would abandon the brand.

Go to Preferences -> File -> Initialization File. If ExceptionHandlingSeverity isn't already there, type it into the textbox labeled "Option:". If already there, click on it and put "7" into the Value field. Acceptable values are 1, 3, 5 or 7, where 1 means "don't bother me with trivial stuff" (the default), 7 means "lay it on me, I want to know everything". You'll normally only use severity level 7 when troubleshooting.

Someday business schools will use Waves as a case study on how destroy your company by disrespecting your customers. Once upon a time, Waves was the undisputed king of the hill due to having highly respected, quality products. Waves was so well-regarded back when I turned away from them that at the time I was actually accused of antisemitism (no kidding, right here on this forum) for deciding to abandon them. Others assumed I was a software pirate frustrated that I couldn't crack their copy protection. Anyone who knows me knows how ridiculous either accusation is. So yeh, I admit I'm enjoying a bit of Schadenfreude these days.

Damn, and that was going to be my suggestion. I divorced IKM when they wanted to charge me a fee for re-downloading SampleTank.

Whatever the issue is, it probably hasn't anything to do with the audio driver. The error message the OP shared shows there was a problem writing the wav file to disk, which would suggest a file system problem. Unfortunately, there are many reasons for an application failing to open a new file, and this generic dialog offers no clue as to which of those many reasons might be relevant. I would start troubleshooting by creating a new blank project, raising the severity threshold for logging events and then try importing an mp3 or flac. The log may then reveal additional information such as a system error code indicating why the write failed.