bitflipper

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?

The sad thing is each previous iteration of Captcha was eventually circumvented by AI. Alan Turing imagined a scenario in which humans needed to determine whether they were talking to another human or to a computer. He didn't imagine that someday we'd have to routinely prove we're human - to a computer.

I know what you're thinking...what's possibly left to add? Doesn't Pro-Q3 already do everything you'd expect from an equalizer? Well, I thought the same thing when the two previous versions came along, and now wonder how I could be so naive as to think the original Pro-Q was the do-all/end-all EQ back in 2010. But each new feature set added more than just convenience, they changed the way I use EQ. Pro-Q4 looks to be a game-changer.

I'll say nothing of the plot because you'll enjoy it more if you don't know what's coming. Except to note that the protagonist is a music producer, a detail I missed at first but becomes significant in retrospect. We're not told what her specific job is, only that she works in a studio. In the opening scene, she's listening to music and has a DAW open. Then the software insists that it needs to be updated, which starts us down the rabbit hole. Enjoy.

I've seen enough spy movies and police procedurals to know all you have to do is stare intensely at the screen and say "Enhance!".

So what happens when those kids grow up? You get this... Saw these guys live last year after following them on YT since they were kids. Yeh, they did this song and nailed it. Now in their 20's, they just kill it in a live show - no backing tracks, just 5 good singers.

And another father-daughters band. I like these folks because they actually play 100% live, no post-production sweetening.

Meanwhile, the spirit of Jeff Beck lives on...in a teenage girl? Yup, girls can play guitar, too. I think Grace is around 18 years old. The way she builds her solo shows a maturity beyond her years. Also, remember when Johnny Carson used to regularly give the house band a slot in the show? Nowadays, you have to be in the studio audience to see stuff like this.

Seeing young people playing rock 'n roll gives me hope for the future. It's reassuring that not every teenager dreams of being a gold-toothed rapper. btw, the drummer in this video is 11 years old.

Already my favorite delay. What a treat to get two more algorithms! For free, no less.

To be fair, almost everything does. My first experience playing a Steinway was when I was hired to do background "music" at a high-end wedding in a private club. During that period of my musical life I'd been taking a bunch of those kinds of gigs because it was ridiculously easy money that required no moving of gear, no setup, just walk in, diddle about for a couple hours and walk out. But I didn't really like them. Nobody listened, and the only comments I got were to "turn it down". It's a frickin' acoustic piano. No volume control, except to play very lightly. The quality of those pianos was atrocious and they were usually out of tune. At one hoity-toity "athletic" club the piano sounded especially bad. I peeked under the lid and discovered the insides had been stuffed with flattened cardboard boxes! So when I sat down at that Steinway and began to play, I was floored by how responsive it was. Whereas many pianos when played very softly produced no sound at all, the Steinway delivered a beautiful soft tone. But bang on it aggressively and it roared to life. I didn't know any acoustic instrument could have such a broad dynamic range.

That's Tracy Collins, the developer, playing those demos. He's got a knack for making virtual instruments sound good in performance. Yeh, this one's gonna be added to my already-expansive Indiginus collection. I feel a new genre coming on...

This appears to be the exact same model I grew up with! Oh, how I abused that thing. When I was 19 I decided to turn it into a tack piano, painstakingly inserting brass tacks into each hammer. Then I attached large paper clips to the felt bar that comes down between the hammer and strings when you press the "soft" pedal. My idea was that I could switch between normal and tack via the pedal. That didn't work well, and the soft pedal never sounded right afterward. Coincidentally, my mother stopped playing piano around that time (it was her piano). My 19-year-old brain could not comprehend that it might be because I'd destroyed her instrument. And I can relate to learning to tune a piano - I thought it would be easy: just tune it like a guitar, going around the circle of fifths. Um, nope. By the time you come back around it's out of tune. I also learned that every time you move a piano you have to retune it. Because the piano was lightweight (relatively speaking) and could be moved by just two people, I had the idea of dragging it on stage. This was in the early 70's; there was no credible electronic equivalent to an acoustic piano back then. Well, I figured out why the only bands that used real pianos on stage were the ones wealthy enough to afford having them professionally moved and tuned for each performance. Having a portable "real" piano would be my holy grail for 30 years, when I got my Yamaha MO8. Totally agree with the premise of this thread. Sitting down at my piano is like a writer sitting at a typewriter with a blank sheet of paper. No inspiration from some cool-sounding sample library or synth, it's about creating something from scratch every time.

What does Fender's marketing department know that we don't? Are there legions of little girls dreaming of becoming guitarists? If true, that would be a very positive thing.

This is a really good delay. Anyone remember all the flak Boz got when he debuted it at 200 bucks? Yeh, he'd gotten some bad advice back then, and yes, it was not price-competitive and didn't sell well. Which overshadowed the fact that it really is a very good delay plugin (I love it on vocals in particular). I'd advise anyone to grab it for 9 stinkin' bucks!

Open Task Manager and see if an instance of Sonar is running in the background. If there is, kill it. Or reboot your computer.

Thanks for reminding me that I'd promised in my OP to report back on how they're working out. Pretty well, actually. Solved the feedback issue on the guitarist's microphone as I'd hoped. Gorilla Glue is some pretty sticky stuff! At one point the cap on the spray can stuck to my finger and popped off. Next time I'm using latex gloves, because that stuff is really hard to wash off your hands. I was afraid to touch my keyboards for a couple days lest I transfer glue residue onto them. I put a total of 21 panels on the garage door and another 8 on some cabinet doors. That leaves 19 more to figure out what to do with. The rest of the room is already covered in 703, which leaves the door as the only bare surface left. Maybe glue some to the back of a shirt so I can walk around anechoically?

Not a bad presentation, but that was an unfortunate choice of "drum" track to demonstrate the effect. If your drums are entirely synthesized and/or sampled, and you don't like the "punch" or "vibe" or whatever, you either try different samples/patches or layer in something that will provide whatever's missing. That includes reversed samples, a nice effect that I use often - but as a dynamic accent. Automatically throwing in a reversed sample on every hit waters down the effect. I'd like to hear it with a real acoustic drum track. That's where it might be useful, since it's difficult to layer samples over human-performed drums. But even then, I'd prefer a drum substitution plugin that would let me draw upon my enormous collection of percussion samples.

Decades? So what, 2004 and earlier? Hmm. It still doesn't export .ape files.