bitflipper

Yeh, I'm sure you guys are right about it being a Native Instruments licensing thing. Although NI is very secretive about their licensing, I do know that it's based on how many copies are sold. Or in some cases, vendors have to estimate in advance how many copies they expect to sell. Some developers have been unhappy with that arrangement, so they may not do that anymore. Like I said, NI is secretive about it and even make licensees submit NDAs. I'm guessing Project SAM is only going to sell as many licenses as they've already paid NI for. Although it seems to me it'd make more sense to just keep selling product and re-brand it as "Full Kontakt Required". There was a brief time when some vendors offered both Player and Full versions, with the former being about 20 bucks more. Those of us who own full Kontakt would appreciate not having to pay the license fee.

Yes, it's usually a plugin that's at fault. But with a large project it can be quite time-consuming to narrow down just which one it is. If Cakewalk aborts with no error message or dump file, you can tell it to be more verbose in its error reporting. By default, many routine error conditions are not reported. To make it less obtuse, there is a setting in CAKEWALK.INI named ExceptionHandlingSeverity. This tells the software what kinds of errors to complain about and which ones to let slide. Set this value to 5 or 7 for troubleshooting. Warning: it can get wordy when told to report everything, so you might want to revert it back to its default value of 1 once you've figured out your problem.

Kenny, when I first saw that video I thought someone had sent me a pic of my own dog. He looks almost exactly like that, jet black with a white stripe and little white tufts on his toes. Yikes, I guess they're all 3D-printed now from a standard set of plans.

I'd called the nearest tuner to me and got his voicemail, left a message but he never called me back. On to the next one on the list.

What do they do, delete one copy from the server after every sale?

Spent the day bonding with the puppy. So cute. Only cost me 50 bucks...ordered a pack of 2 just in case I have to puppy-sit again.

I don't bother with hunting down stray events anymore. Instead, I place a marker where I want the export to end (creatively named "End", with a corresponding marker called "Start"). Then, in the export dialog, I select everything from Start to End. Select "Time Selection" under the Range dropdown. Click the ellipse button to select a marker as the time range end. Cakewalk will remember these settings, but they don't automatically move if you move the marker.

All of these songs are available on CD or MP3. I bought one titled "Songs Around the World 10 Year Anniversary (Remastered) Edition". It's been my falling-asleep music for the past few nights. Good stuff. My favorite cuts are the not-so-familiar tunes, e.g. Biko. However, last night I awoke with a start after realizing they'd altered the harmonies on the chorus of "All You Need is Love". Specifically, they took out George Harrison's descending part. It's a small thing, but I don't think I can fall asleep to that one anymore. It's like having one dark pixel on your display: once noticed you cannot un-see it.

First day puppy-sitting on my own. I had this idea that I'd leave the door open to my garage/office/studio and he could freely wander in and out. Preferably mostly out. Too many things to chew on in here. So there's the door wide open but where does he choose to take a dump? On my carpet, of course. At least he's been running around cleaning up all the cobwebs from the far corners of the room. Yeh, I could bring in the shop vac, but my theory is that cobwebs, if allowed to accumulate, provide additional acoustical absorption.

Remember that cute kid back on page 3? Probably figured she'd be a monster grown up. Yup.

Fearlessly overcoming such obstacles is inspiring. Makes me think that I, too, could prevail despite having less than a thousand plugins.

Credit to bapu for the mix. There's a lot going on in there. In truth, when he first presented this one to me I declined to contribute, saying it would be better to approach it as a power trio seeing as how it was already so dense. Kudos to Ed for refusing to take "no" for an answer and figuring out how to create a space for me so I could channel my inner Jon Lord. Actually, because Jon is still alive I should have said "channeling my inner Keith Emerson". But in truth I'm not that good.

Yes, it's normal that the bus does not show a waveform, because unlike a track it doesn't contain any actual data. Don't know anything about that interface, sorry. (Entschuldigung, es ist 50 Jahre her, dass ich täglich Deutsch gesprochen habe. Und das war bayerisches Deutsch. :)

That method still works, and the Sonitus compressor is still a good choice for doing it. Other compressors can add some flexibility, e.g. having a sidechain filter is handy for fine-tuning. A FET-style compressor can give you very fast attack times if that's what you need. Multi-band compressors let you duck specific frequencies, which can make the action more transparent because you're only ducking frequencies that are most likely to mask another track (e.g. ducking a distorted rhythm guitar with a vocal as the sidechain input).

Do you mean the Melodyne data disappears, or the region becomes hidden?

I'm having fun with it. Manglers aren't normally part of my go-to kit, as my instinct is to go for naturalistic sounds. But there's a place in the blandest porridge for a little cinnamon. There is a readme that tells you what the controls actually do. So yes, the obtuse names are intentional. "Regret", for example, alters the sample rate down to as low as 2KHz. "Sorrow" controls playback speed of the gated signal. "Weep" pitch-shifts the signal to one of six scales. "Dwell" gives a frozen reverb tail.

I am reminded of the old joke...man goes to a fortune teller who informs him he'll experience a devastating tragedy in 12 years. Which he finds depressing. So depressing he gets a puppy to cheer himself up.

Nah, cats are self-centered jerks. Well, mine's pretty mellow, but still. Last night we added a puppy to the household. I got up early this morning to make sure he got outside to pee. My reward: first one to step in a fresh pile of poo. No, it wasn't outside.

It's basically a tremolo effect, but it can do weird and fun stuff to the signal, e.g. pitch-shifting, bitcrushing, down-sampling. Use the "Odd" and "Even" knobs to select the tempo unit for syncing. "Door" controls the depth; turn it fully clockwise for a stutter effect.

Oops. Thanks, Larry. Here's the cryptic UI, which the dev describes as "intentionally vague" to encourage serendipitous experimentation. Gotta love a plugin with a "Regret" knob.

Just downloaded this to test. It's free. 32- and 64-bit, VST2 and VST3.

This is a pretty good one. Actually multiple compressor models. Not subtle, though, nor is it a general all-around compressor. It's a brutal rock crusher.

That is pretty cool. I'm surprised Spitfire hasn't done this yet.

To be fair, Mr. Walsh looks like that all the time. It's not an act. I've seen photos of myself in the groove that were not particularly flattering. Head back, eyes closed and a big grin on my face. At least I don't look like someone just shot my dog.

You would be correct. There are several ways MIDI can dictate volume, e.g. CC7, CC11 and note velocity. Potentially, even something obscure like an accidental NRPN that means something different to the synth being used versus the synth originally being programmed, or a bank change. First, eliminate the obvious: compare the note velocities of the imported data to the default velocity when you hand-plant values via the PRV. You may find that the MIDI file's velocities are intentionally more dynamic, especially if you leave your handmade sequences at their default (e.g. 100) velocities. If the volume difference can't be explained by velocity, and you're certain there are no explicit CC7 or CC11 commands in the data, try inserting your own, either with an automation envelope or a hand-planted CC7 event via the Event List. One way to check for undiscovered CC7s is to set the volume slider in the track header to 127 and hit Play. If the slider moves, then there is something in the MIDI data that's overriding your setting.