bitflipper

In addition to the plugin name, how about adding the expected path? That would tell us if it's VST2 or VST3, and make it quicker to get there and see if the DLL is really missing. If the DAW reports it as missing but the file system verifies it is not missing, then that's a whole different troubleshooting flowchart than if it's really not there. I don't recall if this has been implemented, but awhile back I suggested adding a button to open the most recent debug log file in Notepad. This dialog is a great opportunity to add little features and more information that will help the user solve his own problems, or to give experienced users something to go on when attempting to help a beginner.

I thought you were going to announce that Joe Pesci would be playing Hendrix in an upcoming biopic. That would be an interesting casting choice, because obviously Pesci is too short for the role.

I don't know if the Moog supports this, but the usual way to initialize a synth is through what's called a sysex dump. It's been awhile, but back in the 80's I had a multi-timbral Yamaha module that I used sysex with. Once I had the module configured just the way I wanted, I did a state grab, in which Cakewalk sends out a sysex dump request to the synth and receives a bunch of data back (that doesn't mean anything to Cakewalk). That data then gets stored as a sysex bank with your project. You can then have Cakewalk send that dump out to the synth on startup, which should put it back into the same state it was in when you got the dump earlier. This might help explain it better.

Well. I am embarrassed to be on the wrong side of Andrew Scheps. Can't argue with an Album of the Year Grammy, which presumably used digital saturation. But I'd counter with the observation that just because Andrew Scheps can make something sound good doesn't mean that you or I will produce comparable results. I'd challenge anyone who routinely uses saturation to try taking it off a completed mix and do a blind A/B between the clean and distorted versions. See which one you like better, or if you can even discern a difference.

Don't use the link at the top of your browser. Instead, right-click on the video and select "copy video URL" or "copy video URL at current time" if you want the video to start playing at a specific point. Paste that into your post and the software will do the rest.

I treat saturation for what it is: nonlinear compression with distortion. IOW, it emulates the effect of tape saturation. On the master, it mushes everything together and smooths the rough edges, the way magnetic tape does when pushed beyond its linear region. The technique was discovered back in the day when engineers were actually trying to get the best possible SNR, with "N" being tape hiss. Toward that end, for a high-fidelity recording they'd push the signal level up just short of where the tape began to saturate. Rock 'n roll mixers discovered that if you didn't stop there and pushed it just a little bit harder, the tape saturation began to do some of their work for them by flattening peaks of the higher frequencies. I don't use saturation often, because I don't miss tape and I embrace the clarity and honesty of digital audio. On the rare occasions when I do use it, it'll be FabFilter Saturn.

I am a fan of Paul Third. Here's a recent one that really oughta be pinned at the top of the Deals subforum. Over the years, the more experienced I get the fewer plugins I use. I think most folks end up following a similar trajectory. Apologies to the OP for drifting off-topic. To the topic, I'll add just three observations: saturation is used too often, is applied too heavy-handedly and rarely makes anything actually sound better many plugins that purport to be saturators actually do little to nothing, or aren't even saturators if you're intent on using a saturation plugin, use a freebie like GSatPlus so at least you're not out any money

It looks like your track header window (the part that contains the fx bin, routing and volume/pan/gain sliders is too narrow. Try widening it by dragging its rightmost boundary to the right. This will allow the controls to stack when displayed, so that the track can be more compact vertically.

Most amp sims are mono, so regardless of how the input sources are panned, the output of the effect will be mono. You're going to have to use separate instances of Amplitube on each guitar. If this is too much of a strain on your CPU, just freeze those tracks.

I don't know if this has already been posted, but if you're a new Kontakt user and don't know about Loot Audio yet, you should. There is no cheaper way to load up on tons of sounds. We're talking libraries starting at $3 with the current sale (through year's end). Just about every category you can imagine, from unusual percussion to human voices. There are sample songs and/or videos for nearly all of them, so you can spend an hour just browsing. Note that all of these require full Kontakt, not the Player. A great many of them are compatible with Kontakt 4 and 5, so if you're one of those people who haven't continuously fed money to NI every couple of years for updates these libs will breathe new life into your older versions of Kontakt. https://www.lootaudio.com/current-deals/kontakt-instruments These libraries are cheap, but don't sound cheap at all. Here's an example, Liminal Winds ($42): Here's a shaker sequencer called AP Shakers ($6.50):

Hope you studied that flowchart, dwf2008, as there will be a quiz later. Short(er) answer: Adjust the output of your mixer as needed to get recorded tracks at reasonable levels, ideally somewhere around -24dB to -12dB. Digital recording is very forgiving with levels as long as you stay well below clipping. Leave Cakewalk's gain sliders and volume faders at unity until after you're done tracking.

I started with a version of Melodyne called Cre8, which was sort of "Studio Lite" in that it was limited to 8 tracks at a time. Because I used it only for tuning and tightening multipart vocal harmonies, 8 tracks was more than enough. But when Celemony discontinued Cre8 they made me a can't-refuse offer to upgrade to Studio, although to date I've still never edited more than 4-6 tracks at a time. I haven't used 90% of Studio's features, so given that I've paid Celemony perhaps a thousand dollars over the years for multiple upgrades it's hard to say it was a cost-effective investment. Still, I wouldn't want to give it up. If you're into tight and/or complex vocal harmonies it's just too good a cheat. As for Cakewalk compatibility, there have been some issues in the past with Melodyne getting out of sync with the DAW (pre-ARA) but those problems appear to have all been resolved. Today it runs seamlessly with CW. So yes, Timbo, as long as Santa's picking up the bill go for it!

Reverb: ValhallaRoom, for versatility Track Compressor: FETPresser Bus Compressor: Fabfilter Pro-C Precision EQ: Fabfilter Pro-Q Character EQ: I don't use them Delay: Tritik tkdelay for versatility Chorus: Valhalla Ubermod, because it does other things too Pitch Shifter: Don't use 'em. Basic Filter: Fabfilter Volcano Glitcher/Stutterer: Don't use 'em Multiband Compressor: Ozone Limiter: Ozone Stereo Imager: Ozone Amp sim: Scuffam S-Gear Vocoder: Don't use 'em. Saturation: Fabfilter Saturn Restoration: Prefer a standalone app, e.g. Adobe Audition or RX Clipper: I don't use clippers except on my nails.

I picked up the Dobro. I really don't know why, as I already have two others in my collection. Hopefully, it'll be different enough to add a little variety. Plus it was $15, so why not?

This is a weird one. It's a pretty standard delay but with pitch-shifting and distortion in the echoes. I had the best results on non-pitched percussion. If you like this kind of weirdness, check out his even stranger Darvaza plugin. It's also a delay, one that does even more bizarre things to the echoes. It's also a freebie.

Yep, I recall that the old fX:Chorus was pretty good. Fortunately, the plugin world abounds with cheap and free chorus effects. Here are a few alternatives: The bundled Sonitus Modulator can do chorus effects. The mode is labeled "Ensemble" rather than "chorus". Acon Digital Multiply is a free chorus effect, although it, too, is more of an ensemble effect. Vapor from Audio Damage has been superseded by a fancier version, but Vapor can still be downloaded - for free. Blue Cat Audio has a free chorus that may be the closest to the old fx:chorus in terms of controls. D16 Group's Syntorus isn't free but goes on sale periodically. It is a particularly deep and configurable chorus. Meldaproduction has a nice multiband chorus called MChorusMB, that's currently on sale for $29 SONAR came with an effects suite from Nomad Factory than included a useful chorus called BT Analog Chorus. This will only be available if you have a previous version of SONAR installed. Overloud has a basic chorus plugin called VKFX Chorus, which, iirc, was a freebie. If you've got fifty bucks, the ultimate chorus effect is UberMod from ValhallaDSP. Voxengo has a nice chorus that's currently on sale for $30. TAL-Chorus-LX from TAL Software is a freebie, an emulation of the chorus unit from the Roland Juno-60 synth.

My wife was also 9 years older than me (I've always preferred experienced women) and we lasted 40 years. I concur with your hypothesis.

Guilty, too. Mine is from when I was a young man of 63. All I'd have to do to bring it up to date is use Photoshop to turn the rest of my hair the same color as my beard in that photo.

I vaguely recall a long conversation about this, way back when. It had to do with compatibility with the largest number of synths, some of which specifically expect a note-on message with a velocity of zero. I know my Kurzweil works like that, and ignores note-off messages altogether. Dnote, does your piano let you adjust the volume of release samples? That might be the simplest workaround. I have several sampled instruments that offer that feature. However, I don't have any (software or hardware) that provide multiple velocity layers for release samples.

Tim, if that piece is indicative of your normal style, you're gonna definitely want to take a few days off from the world to explore Omnisphere. Check this ditty out. Two instances of Omnisphere with 8 patches in each. Most of the guitars and percussion are Kontakt, but Omnisphere's providing the human voices and one of the guitars ("Glorious Steel"). The sort of xylophone-sounding arp-ish bit near the end are lightbulbs ("Bass Buzz Lightbulbs") from Omnisphere. https://soundclick.com/r/s8joxc

90% of my projects over the past 10 years have at least one Omnisphere track in them. You're gonna have fun.

I genuinely thought the company was defunct, just keeping old products up for old times' sake. There was a time when their plugins were highly regarded, if a bit pricey. Their multiband compressor was ahead of its time and used to be a favorite. But then years went by without any new products or updates to the old ones. The fresh new look of this plugin suggests somebody has finally taken the reins to revive the brand. It looks like a fun effect, too. I won't be buying it, but it does look fun.

Here's Ian c. 2005, all grown up but still screaming, albeit an octave lower. Jon still frustrates the hell outa me to this day; even in my most caffeinated frenzy I cannot match his speed.

Here's probably the best live version, from the BBC in 1970. Epic. Not that you'd know from the bored expressions of the studio audience.

My favorite DP tune. Saw DP do this live in 1970, in Frankfurt, when they were promoting Deep Purple in Rock. We'd gotten pulled over by the Politzei for a broken taillight, and in a panic I ate 2.5 grams of Turkish plate. The night before we'd been to see a brand-new supergroup called Emerson Lake and Palmer, where I also got my first look at a Moog modular synth. It was a most memorable weekend.