bitflipper

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.

Here's an articulation map for Indiginus' newest library, The Fiddle. I've got maps for several other Indiginus instruments if anyone's interested. The Fiddle.artmap

Lots of great recordings made with just a kick mic and a single overhead, for that matter. Listen to Hendrix's first album, e.g. Manic Depression. The kick is a little subdued by modern standards, but the snare is snappy and the rides are crisp. Gotta have a good room for such an approach, though.

You're right. I looked it up, and indeed the original was licensed by Sir Paul himself, who was a fan of Luc Besson. It's just been sliced and diced, looped and sweetened. It was the first time a Beatles song was ever licensed for an ad.

Wonderful! I could listen to - even pay for - a whole album of that kind of stuff. Reminds me of the impact that the cover of the Beatles' "Because" had in the trailer for Valerian and the City of a Thousand Planets. Too bad the movie wasn't as good as the trailer.

I was once fortunate to sit next to a hearing expert on a flight, who I'd noticed was using an SPL meter to measure noise levels on the plane. A professor and researcher from the University of Washington, he was very happy to talk about his specialty. One cruel factoid I learned that day was that audio professionals lose their hearing faster than the general population. Another discouraging observation was that teenagers in the US today have the ears of 50-year-olds 60 years ago. It's projected that hearing impairment will become a global epidemic when those teens are over 50. A more encouraging lesson was that "age-related" hearing loss is not age-related at all. Hearing tests were given to some remote Amazonian tribes, people never subjected to the everyday noise of urban life. There, 80-year-olds had the hearing acuity of a 10-year-old. It's too late for me, but those of you still young enough to do something about it - protect your ears!

Yes, they are modeled after the LA-2A, so they're going to be similar, not only to each other but also to other faithful models of that compressor (e.g. IKM's White 2A Leveling Amplifier). Personally, I prefer the VST version, but only because I like the tidiness of the fx bin and being able to see at a glance what plugins are in play. Until Mark mentioned it above, I'd never even thought about CA-2A's sidechain input being a differentiator. It's just never occurred to me to sidechain an optical compressor.

The company name is "Indiginus", not "indigenous". It's a pun on "in digital". It does not imply that the samples have been co-opted from some ancient Inuit tradition. Note that he's wisely never released a library of snowmobile sounds, thus avoiding any potential controversy.

In practical terms of audible fidelity, it doesn't really matter whether you use it or not. Leave it on if doubling your memory usage isn't an issue and you just feel better knowing that any cumulative math imprecision is going to be buried so far below the noise floor that it can never matter. But I can think of no real-world use-case where it would be a necessity. Sure, you can go off into the weeds with the math and convince yourself there's a benefit, and an abstract case can be made that there truly is. But I'd challenge anyone to actually discern a difference in a blind A/B test. It's certainly easy enough to test for yourself: just export the exact same mix with it on and again with it off, then ask someone to randomly select one and then the other while you listen.

You're gonna be pleased that all your old SONAR projects will open in CbB just fine (as long as plugin paths haven't changed) everything you learned about SONAR still applies, so there'll be very little you'll have to figure out if you don't uninstall X3, you'll still have all the SONAR extras (e.g. Addictive Drums, R-Mix, Rapture) CbB is more stable than X1 through X3 - Noel drives the bus now, not marketing geeks there are lots of useful new features since BandLab took over (e.g. arranger view, articulation maps) John is still here