bitflipper

That's good stuff, QM. Reminiscent of Green Day. Got any more like that?

I've long enjoyed the Japanese take on jazz, classical, prog and metal music, and wondered why it wasn't more widely appreciated outside of Japan. Here's some quality commercial pop rock from that country. This band's been around for awhile and has made a bunch of records, but I only discovered them thanks to YouTube's mysterious suggestion algorithm .

btw, if you're curious what Chet Atkins' version of Walk Don't Run sounded like:

When I moved to Seattle in 1972, I was pleasantly surprised to find a lively and long-established local music scene. There were literally hundreds of live music venues to play at and dozens of recording studios. Today you'd have to go to Austin or Nashville to find an environment like that. But in the 60's every city had its own circuit and its own superstars. A few of those local favorites managed to bust out of the Pacific Northwest and go national and international, which is how I knew who some of them were before coming to town. One of the biggest was The Ventures, although by '72 they had already relocated to Los Angeles and their style became mostly associated with Southern California and inspired many copycats there. Playing in my first bands in Nebraska, we assumed The Ventures and the Beach Boys were neighbors who grew up surfing. Neither of them actually did. The main thing I took away from this documentary was the realization that The Ventures, for all their innovation, was really a cover band. I'd been unaware, for example, that Walk Don't Run was originally lifted from a Chet Atkins record. Another interesting snippet was the criteria for being inducted into the Rock and Roll Hall of Fame: At least 25 years since first release Possess a significant body of work Significant influence on the development of rock 'n roll I couldn't help wondering how some of the more recent inductees qualified under those criteria, e.g. Eminem, Run-DMC, Madonna, Tupac. Meanwhile true rock innovators like The Ventures had to wait almost 50 years for their nomination. I think 250 albums qualifies as a "significant body of work".

I have it on good authority that the author of that review remains a fan of MSpectralDynamics and still uses it regularly.

Tbh, he wouldn't be on my top 10 list of songwriters, either. A songwriter is one who's proficient at every aspect of song creation, from rhythm to melody to arranging and instrumentation. Paul Simon is a songwriter, perhaps the best ever. Billy Joel, Paul McCartney, Smokey Robinson, Randy Newman, Brian Wilson, Freddy Mercury and Dolly Parton are songwriters. Now, if we're talking top 10 lyricists then Roger would definitely make the list, along with Bernie Taupin, Leonard Cohen, Bob Dylan, Joni Mitchell and Jim Morrison. I'd even tack on the somewhat controversial Neil Peart in the honorable mentions.

Basically the same effect. TrackSpacer is easier to use, MSpectralDynamics is more tweakable and versatile.

Just about any lyric Roger Waters ever penned. One of my favorites is... The paper holds their folded faces to the floor, and every day the paper boy brings more - Brain Damage, Dark Side of the Moon

Lawajava's in Kenmore or Bothell. dubdisciple is in Auburn, or thereabouts. DeeringAmps is in the South end, Tukwila maybe? I'm in Everett. None of those are within the Seattle city limits, though. Now, there is a longtime user named jkoseattle, but I could be reading too much into that handle.

A handy cheat if you're in a hurry, lazy, or just not very practiced at mixing. I'd file it under "nice to have" rather than "must have".

Hey, I don't want to brag or anything, but did read the entire manual. Once, anyway. That was in 2005. If there's anything you want to know about SONAR 5, I'm your guy.

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.