bitflipper

Will also restore hair loss, wax your kitchen floor and make your pants fit better. Best of all, it answers the burning question: How many empty marketing buzzwords can you fit into one product description?

You can't bring up this song without including this...

One of the coolest drum sounds from the 70's. I've always assumed it was achieved through massive compression. It hadn't occurred to me that it was also pitched down with VariSpeed, even though tape speed tricks were already an established technique at the time. btw, the "previous song on the album" they talk about is the very different-sounding and way less catchy "On the Run". I've listened to that album a hundred times and never made the connection. According to Wikipedia, they made a tape loop from a chunk of the drum track for that song and built Don't Bring Me Down around it.

Holy crap, this is good. It's got an arpeggiator that's instant Earl Scruggs in a jar. I'll post a sample as soon as I figure out all the keyswitches...

You probably didn't even know you needed a banjo, but according to Tracy it was his "most requested library". I just got it today and will be kicking the tires and will report back. My expectation is that it's going to be great, like all the Indiginus stuff. Introductory price: $39 Product page: https://www.indiginus.com/the-banjo

Less heretical than you might think. Check out this reddit thread from r/livesound. In a previous thread on that forum, I had complained specifically about excessive bass. Surprisingly, I got pushback from FoH guys. You'd think they'd be more protective of their own ears, given that loss of hearing would presumably be a career ender. Their answer: earplugs. Well, I've got some fancy "musicians'" earplugs, and everything sounds like cotton through them. Most concertgoers are probably stuffing their ears with those crappy orange foam things you buy at Home Depot for carpentry work. That's not the experience I'm willing to pay $100 or more for.

Depends on whether you've actually referenced any of the new content in a project. If not, then the cleanest and most straightforward solution is to uninstall K7 and reinstall it at the desired location. I can think of only a few reasons to use a symbolic link: the installer does not offer an option to choose the location you have projects that use the new content that would be broken by a reinstall you want to add a new drive dedicated to samples and need to move gobs of libraries over to it

Sounds good, Kenny. Gimme a shout if you're ever in the Seattle area.

This perfectly explains the virtual performer phenomenon, as well as other crowd-powered genres such as EDM and KPop. It's the shared experience that audiences enjoy. I think it's a symptom of the isolation people are feeling nowadays. Though not unique to young people, they have been impacted most due to being conditioned to equate social media with actual social interaction. We've long heard about old people feeling isolated, but honestly this old person could not care less. I have no Facebook friends, I have real friends that I can count on two hands with enough fingers left over to hold and light a joint.

Assuming the synth is multi-timbral (most, but not all, drum synths are), you'll want to use separate audio outputs for each of them. A screenshot of the track view header might help us see where the problem lies. Which synth is it? If it helps, here's a picture of what my drums typically look like when only one synth is being used for all drums. Note that there is only one MIDI track and one MIDI channel, but I'm using five separate audio outputs from the synth. I am not using MIDI automation for volume or panning, letting that all be controlled within the synth. All drum audio is routed to a common bus so that I can automate them together if needed. Granted, not all drum synths offer the same degree of routing flexibility as Superior Drummer, but most at least let you assign individual instruments to separate audio outputs.

And they were absolutely correct to take that attitude. When a vendor advertises that its software is compatible with another vendor's software, they are publicly committing themselves to making sure that it is and will remain a true statement. Cakewalk - like every other DAW vendor - has in the past had to modify its own code post-release after it was shown to cause an incompatibility with some popular third-party plugin. Within the software industry, version compatibility is a big deal, as any programmer who's worked in a corporate team environment can attest. Woe to the poor coder who breaks compatibility between modules within their own product and incurs the wrath of and is ridiculed by the entire department. (At least, when the change hadn't first been demanded by Marketing). That said, I much prefer Cakewalk's development philosophy. A small team that moves fast, doesn't make users pay for or wait for bug fixes. And most important, doesn't intentionally break backward compatibility to squeeze a few more bucks out of their customers. True fact: most if not all of Cakewalk's beta testers are iZotope users. If Ozone stops working with any new version of Cakewalk, you'll know about it pretty quickly, and in most cases a fix will have been implemented before its formal release. iZotope should simply add another list, DAWs that it reportedly works with but that they haven't tested themselves. Some vendors do that already, for good reason. Why discourage any segment of your market from buying your stuff?

Ergonomically speaking, I agree. V-V was very quick and easy to use. When I say Melodyne is superior, I am mainly referring to its relative lack of artifacts, even when the user does something dumb. V-V was never very forgiving if you didn't play by its rules.

Ah, yes, my bad. The pathname needs to be quoted because of the embedded blanks, e.g. "c:\program files..."

What was the error code regsvr32 displayed? Assuming that you still care about getting VV going. Melodyne is, of course, far superior. Although one caveat applies to both of them: don't save a project mid-edit.

I picked up Noveltech Character for zero bucks. Not something I needed, as I have other saturators and don't really use saturation much anyway. But the price was right. I already had Noveltech's Vocal Enhancer, which is pretty much the same thing but tuned for vocals. I actually use it now and then, especially when I'm working with dull vocal tracks that somebody else recorded. Character, otoh, seems to work best on acoustic drums and low-pitched percussion.

I'll gladly move the thread if that's what you want, but really the Coffee House does seem like a good place for it. For one thing, this subforum has a higher percentage of old-timers who'll appreciate the callback.

I no longer have V-Vocal on my computer so I can't test it, but it should still work. The most likely reason CW can't load it is that it needs to be re-registered, as it's an ActiveX library. These differ from VSTs in that instead of having the scanner go out and find them, their locations are stored in the system registry. Just like with VST3, this eliminates the need for the DAW to go looking for them. The downside is that if that information in the registry is lost, e.g. after a Windows re-install or switching to another user profile, then YOU have to go and find them and add them back into the registry. That's actually easy to do. At least, once you've verified where cronus.dll actually is. For example, if its path is c:\program files\cakewalk\shared dxi\cronos.dll what you'd do is open a command prompt and type in the following: REGSVR32 C:\Program Files\Cakewalk\Shared Dxi\cronus.dll That's it. Cronus.dll has code within it that knows how to enter itself into the registry. REGSVR32 simply calls that code and V-Vocal does the rest. It doesn't matter where the DLL is stored, since Cakewalk is looking it up by its CLSID, which never changes. Note that I don't recall the actual path cronus.dll installs to by default, but I'm sure you can find it. One caveat: you may have to run regsvr32 as Administrator.

I just replaced my broken i7 with an AMD Ryzen 5 5600x 6-core (which was half the price). Although technically a downgrade (8 cores to 6), I have noticed no difference in performance, either in the number of tracks Cakewalk can handle or in video game FPS. The only benchmarks that matter. Also not impacted: the speed with which I can impulsively order unnecessary sample libraries.

Skaka is one of my most-used instruments, despite having far more sophisticated percussion sources on call, such as Shimmer Shake Strike. I often just want to add a subtle shaker pattern behind a drum track. Skaka lets you do that with minimal effort, as it's basically a simple sequencer with each shaker having its own sequence. I'll typically pan one type of shaker left and another right. Even with custom patterns it takes just seconds. Plus you can save your favorite patterns for re-use in other projects. I do wish they'd add some more instruments, though, even as a paid add-on. There are currently 18 instruments, but many sound similar. This could be a game-changer if they added bongos, congas, sticks, etc. But it is what it is, and quite useful as it stands due to its simplicity.

Yes. CTL-SHIFT-A de-selects all tracks. Don't confuse track selection with track focus. One track will always have focus when you're in Track or Console views, regardless of which tracks have been selected. Focus determines which track receives keyboard and mouse events. Track selection lets you perform operations on more than one track at a time.

This week's gig is at a small bar. We've played there before, so I know what we're getting into. Crowds are good there. There's a stage entrance off the alley and we can park there, so load in/out will be easy. Staff are friendly. Room acoustics are pretty OK, mostly because it'll be packed with walking acoustical absorbers, aka audience members. There's only one issue: the area we'll set up in is small. So small that last time I ended up in front of the ladies' room, 90 degrees to the rest of the band. That wasn't all bad, as I was basically facing the band and could hear everyone clearly. The downside was that the aroma emanating from the restroom was rather unpleasant. It could have been worse; it could have been the men's room. Sure, this isn't quite what I'd dreamed of as a 15-year-old starting his first band. Back then our venues were often cavernous high school gymnasiums with reverberation times in double digits. I reckoned it could only get better. Well, to be positive at least *I* got better, as did my gear, even if nothing else in life did.

It's an access violation, meaning the plugin committed a no-no internally when it attempted to read from protected memory that's only available to the O/S. It's a pretty common type of bug, especially in hobbyist-made programs. You'd be doing the developer a favor by passing along your crash dump to him, as it'd help him to identify the problem and fix it. In the meantime, it's probably best to just avoid this instrument for now. I gather it's a drum synth. There are alternatives, including Studio Instruments and the TTS-1 that you already have. Yes, the TTS-1 is a decent drum synth with a little creativity.

I chalk it up to Germany's superior healthcare system, under which people can afford to regularly upgrade their optical prescriptions. My eyesight sucks, and Kontakt's tiny UI used to bother me. But over the years I've just increased the size of my displays until now it's just fine. I use a pair of inexpensive 34" monitors running at 2560 x 1080. I do realize that 34" is about as big as I can go without impinging on line-of-sight to my speakers. So if my eyes continue to degrade I'll probably end up with 60" screens and soffit-mounted speakers. Hopefully, virtual displays that project directly onto my eyeballs like a fighter pilot's HUD will someday save the day.

As long as you play any sequence twice, the notes are obviously intentional and therefore it's the listener who isn't sophisticated enough to understand your genius. In other words, it's not a mistake if you play it twice. It's jazz. If you ever get pushback from a real jazz musician, look at him condescendingly and slowly explain that it's indie jazz-punk fusion and he'd know that if he wasn't such a square. Great tats and a surly attitude will get you farther than practicing scales.

NI usually takes a different approach: discount the soon-to-be retired version and later offer a cheap upgrade to the new one. K6 is currently selling for $199, down from $399. If history repeats, they'll then offer an upgrade from 6 to 7 for something like $149-$199 ($79-$99 if you wait a year). This, at least, is how it's gone since I first bought into the Kontakt universe at version 2. So it's probably safe to go ahead and grab K6 now if you're impatient. In the end K7 is going to end up costing you the same - or less - either way. I have bought every Kontakt version since K2, and never paid even half the list price for any of them, just by waiting a year before upgrading. If you buy K6 now, it will do everything you need it to do until eventually some must-have library comes along that requires K7. That won't be for a while.