bitflipper

Not following what this means...are you running SONAR as administrator and then loading Rapture into a project, or running Rapture standalone? Either way should allow the instrument to write to the registry as long as the parent process is Administrator. Make sure they're really running as administrator. If launching from a command prompt, you can verify that by looking for "administrator" in the DOS window's title bar. Anything you start from within that DOS prompt will inherit admin perms, including a Windows Explorer window.

As Promidi points out, the controller just spits out a standard range of values and it's up to the virtual instrument to decide what to do with them. Most sample-based guitar libraries limit the pitch bend range to a few semitones because beyond that it starts to sound weird. That's just a limitation of how pitch mod works on sampled material. Synthesizers, OTOH, have no such restriction and usually let you define the pitch bend range to almost anything you want. Two possible solutions for you. Get a sample library where slides are baked into the samples. Indiginus, for example, has some guitars that can do a one-octave slide. The other solution is to use a synth that can sound more or less like a guitar. Sometimes, substituting a synth works surprisingly well, not because anybody's going to buy it as a guitar but because it puts a personal spin on your interpretation of the song.

Because it's not what I think it is, it follows that it must be something I don't think it is. Making a list of things I don't think it is shouldn't be that hard. Or...if I think it's something musical, then haven't I already eliminated every possibility? Just every musical possibility, so it can only be non-music product. Something to compete against Far Cry 6. And because I definitely don't think that's what it is, then logically it must be that - you're welcome.

Someone in the YT comments said that Rush got their first radio airplay on an Ohio radio station. I wondered why Ohio in particular had a connection to Rush, and why it wasn't a marching band from, say, Ontario.

Ohio State Marching Band halftime show on 9 Oct. Great job by the arranger - drum line must have been especially pleased with the project. And some of the best marching choreography ever.

Of course, somebody has to come along and suggest the most expensive option...but it needs to be said: Spectrasonics' Trilian is just about the last word on basses. Not only does it have a great-sounding standup, it has a couple other acoustic basses too, e.g. a Martin that I like a lot. It's really a one-stop-shop for all things bass, including acoustic, electric and synthetic basses. Plus if you have Omnisphere you can layer Trilian + Omnisphere patches. At $299 it's pricey, but really a bargain if you consider how many instruments you're getting. If you have Kontakt, Orange Tree Samples' CoreBass Pear is excellent and it's only $59.

Oh yeh, I've had them both going at once.

By "problem", do you mean PT exports the same project in less time?

Learn something new every day! Thanks, Steve. You've saved me at least five seconds twice a year with that one tip alone.

First, it's not up to the user to tell an application how to distribute the workload across cores. That's automatic, and it has to be that way. An explanation as to why that is would fill a book, and has indeed filled several. Parallel processing is a tricky business. Second, seeing 25% CPU usage at the top of the CW window is not a bad thing. It just means the CPU has had enough time to process the data before having to spit out a buffer-full of data to the interface or to the disk drive. That's what you want to see. The CPU isn't slacking off; it's not a spigot you can open wider to get more work done. (That would be analogous to replacing the CPU with one that runs at a faster clock speed.) Now, if CW isn't using all the cores (actually, it can't use them all because Windows needs some), that's another matter. Although it is possible for the user to limit the number of cores that a program can use, by default Win10 assumes you want to use every core available, so you have to go out of your way to limit an application to N cores. Consequently, any time you see a core's usage drop, it's because the DAW is doing something at that moment that can't be further divided into separate tasks until that something finishes. That, or the O/S itself has some high-priority task that must take precedence, such as servicing an IRQ. There was a time when we'd tell Windows to give the DAW priority in thread scheduling, so that more CPU cycles could be dedicated to our primary application. We don't do that anymore because it's as likely to screw up performance as to improve it. You can, however, take a look at background tasks that might be competing for resources and see if any of them can be disabled during your DAW session.

Reminds me yet again how much I dig Solid State Symphony. Still my most fun Kontakt instrument for live jamming.

I will bookmark this thread so that the next time an actual rookie confidently declares that "nobody needs to check mono anymore" because everyone listens to music on Apple earbuds I'll have a quick comeback.

Manic Compressor is actually multiple compressor models, all of which are great if you like wielding a compressor with the subtlety of Thor wielding a hammer. No, that's not a criticism. Sometimes you just want to beat something into submission.

Points for the cute UI. The problem with cute UIs, though, is that they offer few clues as to what you're actually doing. Do I need more fertilizer? Maybe. Or maybe choosing the Tulip algorithm was a mistake. I guess the idea is to encourage experimentation, which is good. Especially if you have no idea what the Haas Effect is.

Sorry, not enough information to know what happened, MB77. If English is not your first language, perhaps a screenshot would help us out. One thing you could try is a VST reset/rescan. Press P to bring up the Preferences dialog, scroll down to File -> VST Settings. Under Scan Options, click the Reset button, then the Scan button.

The file has "beta" in the name, was created in 2006, is still at version 1.0.1 and hasn't been updated since 2011. That's what we call "abandonware". It happens often, usually when a hobbyist creates a plugin for the fun of it and then moves on with his life. Moving on might be your best strategy, too.

Just choose CC74 from the list and draw your automation envelope like any other.

Renegade Acoustic is one of my favorite acoustic guitars. The electric version is pretty good, too. If you get the bug and really want to dive into the rich articulation possibilities of sampled guitars, Orange Tree Samples goes pretty deep with them. Half and full palm mutes, squeals, hammer-ons, quarter/eighth/sixteenth/whole note slides, divebombs, power chords, tapping. Of course, it's the difference between a $59 product and a $179 product. Shreddage2 is another one that goes deep if you like heavier genres, with lots of articulations that can be tweaked. Then, once you're totally hooked on articulations and looking for more challenges, that's when you dive into that bottomless black hole that is orchestral libraries.

You can also do it right in the track view if you're not comfortable with the PRV. Since it's a VSTi (as opposed to a Kontakt instrument) you should be able to select it by name from the "edit filter" dropdown list in the track header. If it's not listed there by name, you can still select a CC number by clicking MIDI at the bottom of the same context menu. You can then draw in the automation in the track view just like any other automation. Sorry, I don't have MODO Bass to show that specific instrument, but here's what it looks like when the developer has exposed options by name. Note that this kind of automation is usually applied to the audio track rather than the MIDI track.

I'd start by doing a search on my local drives for "HEAR360" to determine what it is and where it's located. Could be something accidentally got installed under a folder that's in your scan path, or a DLL dependency of a legit plugin. But the first step is figuring out what it is.

EMI would be my first guess. Maybe RFI if you're near a strong radio source, e.g. a radar installation (but those tend to be cyclical) or a machine shop where they do arc welding. Best defense against EMI is isolation and good grounding. Make sure all your gear is plugged into the same circuit and there are no "cheater" adapters in use. Check what else is sharing the circuit with your computer and interface, that there are no motors or compressors (e.g. refrigerator). Ideally, you'll have a dedicated circuit just for your recording gear, but that isn't always practical. If that isn't possible, a power conditioner might do - bearing in mind that a real power conditioner isn't cheap, and a power strip with a surge suppressor isn't a power conditioner, even if it says so on the sticker. Pull out the outlet you've got everything plugged into and make sure it's grounded correctly (should have a green wire that disappears into the conduit, hopefully going all the way back to the distribution panel). There are cheap testers you can get at the hardware store to test outlets; they'll alert you to the most egregious wiring mistakes.

John Lennon, October 9th. Close enough.

Is it too late for the US to join the EU? I hear they have an opening.

Editing them by hand will drive you crazy. Fortunately, there is good software out there that can intelligently clean them up with little effort. For many years my go-to tool was Adobe Audition, but I now use iZotope RX8. I'm not sure, but I think even the $29 Elements version has the feature. I use the standard version, which adds a whole bunch of cool stuff. And of course if you're made outa money there's the Advanced version. Here's a comparison of features from each edition. Now, you didn't hear it from me, but if you only need it for one project you can try RX8 for free for 30 days. Just sayin'.

Gotta admit, I'm a sucker for remixes. Listening to a super-familiar record and hearing new things in it is a special joy. (see Sgt Pepper) Remasters, not so much. Listening to a a familiar record where all the life has been squeezed out of it, that is a special kind of disappointment. (see All Things Must Pass) The toughest call, though, is a format change. Is it really worth it to buy a FLAC version when I already have it as a 256 kb/s MP3? Probably not. How about a 192 KHz 24-bit wav? Definitely not. I was born at night but it wasn't last night.