bitflipper

I totally forgot that it was Tracy who did all the scripting for that library. And yeh, it's a good one. In fact, it's become my go-to orchestral library, despite having a plethora of much more expensive ones on hand. Btw, my hot tip of the week: run The Fiddle through some light distortion, a chorus and delay. Juicy goodness.

Yikes. I guess I was so proud about knowing my blood type that I missed the questions about gullibility and forgetfulness.

Holy crap, antler. Where did that come from? It's a joke, right?

Maybe, just a little. I'm currently building an Access db to manage my band's song list and generate set lists. That might seem like overkill, but there are just too many factors to consider when I make up sets for a gig. It's mostly about planning ahead for minimal dead air between songs, while tailoring the playlist to the venue. The guitarist switches between three guitars, so I try to minimize the changes between songs. One of them is a double-neck that pains his back if he plays it for too many consecutive songs, so I have to disperse them throughout the set. The sax player switches between alto and tenor, so I can't put two songs back-to-back that require a switch if he's playing from the start. The singer has some top-of-her-range screamers, so I can't follow one of them with a mellow ballad. Same for me; I have some vocals that I have to sneak up on, so it's best if they're in the last two sets. Sometimes I have some setup to do on my keyboard and/or mixer (which I run from the stage, being the only band member who can temporarily play with one hand). Some songs are showy but not friendly to dancers, so they're best used as set openers. Some high-energy songs exist solely to entice dancers, and many of them are reserved as set closers. Some venues don't want slow songs while other places demand more of them. Either way, I have to consider how the dynamics flow, treating each set as an album. And then there are the new tunes that we're still a little shaky on - those have to happen after the audience has had time to get drunk. I'm putting all those factors into the database. That's the easy part. The hard part will be writing the algorithm that sequences them.

Good to know I'm not alone. Buying CDs, that is. I don't actually listen to CDs anymore. Don't even own a working player. But second-hand CDs are often cheaper than an MP3 download, and you have a hard-copy backup should you ever lose your ripped files. Plus if you rip them to FLAC, the quality is slightly better than a 256kb/s MP3. Good idea putting them into a database. I should do that with my vast collection of DVDs, which numbers in the thousands. But I'm too lazy to even put them all into wallets, much less catalogue them.

Fluid Pitch. I just bought it for $34.40 using the discount code FALL30. Such a deal. Now, I should have been suspicious when I went to create an account and it told me my email address had already been used. Undeterred, I placed the order anyway. Turns out, I'd already purchased the product - earlier this month! Don't you just hate when that happens? If you don't know what this plugin does:

What a terrible name for such a great product. Usually when I receive a link to a "media kit" in an email, it's a press release. I let it sit in my inbox for a few days for that reason, before realizing "oh, wait; it's Spitfire, better have a look".

Good one, Simeon. You're almost as good at faux-guitar playing on a keyboard as Tracy himself. Better singer, though. I once spent a wonderful afternoon hanging out with Tracy down in Anaheim. It was his first time at NAMM and he didn't have a team of assistants to man the booth, so it was just him and his delightful wife Brenda. Wanting to be helpful, I gave some enthusiastic - if unsolicited - product demonstrations to passers-by. Don't know if I helped them sell anything that day, but it was sure fun for me.

A game I play when watching old performances is identifying all the now-vintage instruments in use. Here we have the unique Yamaha CP-80 , an electric piano that had real piano strings inside, and an Oberheim OB-X - the rarely-seen 8-voice, split keyboard version that would have been the latest in cutting-edge tech in 1982.

I laughed when I saw Mark's post. Thought it was a gag. Like, "after reaming out a hole in my eardrum my tinnitus - and every other annoying sound - went away." But it's real. Damn. A few years ago I came back from the beach with water in one ear. Tried to soften it by running hot water into the ear in the shower, which only made it worse. Then I tried a Q-Tip (I know, I know) and went completely deaf. This happened 8,000 miles from home, which meant enduring an agonizing 15-hour flight without a functioning Eustachian tube. Had I known then that a battery-powered ear reamer existed, I probably would have given it a try. It was more than a month before I got my hearing back, and I was starting to worry. Not desperate enough to seek medical help, though - self-employed people in America don't go to the doctor until it's life-threatening.

Until recently, my band used to cover this CC tune but had dropped it because we feared it might be too obscure for our audiences. Just sent a group txt out to the band saying that we HAVE to bring it back now...

See if Windows generated a dump (\users\{username}\appdata\Local\Crashdumps).

I gave it a quick test last night, just slapping it on the master bus of a completed project, prior to Ozone. That may not the best use of this effect, though, because the subjective result was a slight increase in the mud range and loss of brightness. I'll look a little closer tonight.

Unable to reproduce here. Did you get a dump? (%appdata%\cakewalk\cakewalk core\minidumps)

Just realized I typed "Craig" instead of "Scott". I guess all you writers look alike to me.

I'm intrigued. Looks like a candidate for Plugin Doctor's all-seeing eye, to determine just what it is that this mysterious plugin actually does. It appears to be "name your price" rather than free, though, suggesting 10 EUR or higher and requiring a credit card to complete the download. Let me know how it goes, Fleer. My personal purchasing policy (Paypal or nothing) won't allow me to satisfy my curiosity.

I don't have a VST3 version of it, either. Mine's pretty old, though. It was installed back in 2016 (version 5.2.2.8). I wouldn't worry about it, userN. The VST3 version isn't going to do anything different than the VST2 version.

And here's my favorite all-purpose acoustic guitar, Renegade Acoustic. I'm also a fan of Renegade Electric, but I've not yet made an articulation map for it. I suspect it may be the same as the acoustic version. Renegade Accoustic.artmap

Here are The Resonator and Mandolin while we're at it. These two go very nicely with The Fiddle. Mandolin.artmap The Resonator.artmap

Here ya go. I haven't used it in awhile, so let me know if anything's missing from it. The STEEL.artmap

I'm waiting for the "do it again but this time make it sound better" option. Perhaps feature it in conjunction with the re-release of the legendary Talent plugin. C'mon, Noel, we know you've still got the source code.

Watch the expression on Rick's face while Brian is playing.

Fans of Dr. May and Rick Beato will like this. Brian is one of those guys you'd really enjoy chatting with at the pub.

Maybe I'm not getting what's going on in your example, but the issue doesn't seem to be related to volume automation. The instrument seems to be doing its own thing, even when automation is disabled. Are you sure this particular instrument's volume is controlled by CC7 and not CC11 or CC1?

I've uploaded an articulation map for The Fiddle for your convenience. EDIT: Added art maps for some other Indiginus instruments to the same thread - The STEEL, Renegade Acoustic, The Resonator and Mandolin. All of which would pair well with The Fiddle.