bitflipper

I don't know, either. It's always bugged me that the Focusrite UI would confidently display the Windows default sample rate of 96 KHz even while I was playing back a 44.1 KHz project with no other applications open. So this morning I took John's advice and changed the Windows default to 44.1. It probably won't make a lick of difference, but at least Mix Control will stop mocking me.

Unless the domain is registered to GoDaddy or one of the smaller services that offer a so-called "private registration" option. This feature exists solely to obfuscate the domain's true ownership by listing GoDaddy as the domain owner rather than the actual customer. Sketchy internet entrepreneurs love this service. But outside the EU users have to pay extra to keep their information hidden, so legit website creators in North America usually don't bother. So if whois shows an actual business or person's name instead of GoDaddy.com, that's an indication they may be legit. Or just dumb crooks.

They are functionally one and the same. At least, that's what IKM contends. Of course, Sampletank is not nearly as tweak-able as Kontakt, so if you're one of those types that likes to go under the hood and tweak instruments, you may find a few things that Kontakt lets you do that Sampletank does not.

Got it my hot little hands. Looks like bedtime may have to be pushed back tonight.

Interesting. Hundreds of us use Focusrite interfaces, but nobody's reported this before. Doesn't mean you don't have a problem, just that it may be specific to your system. Could the distortion actually be a too-low buffer size? CW doesn't mess with that, afaik, so I'm just guessing. Are you using ASIO or WASAPI?

Renaxxance is far and away my most-used Indiginus library. But if you've already got NI's Picked Nylon that would be a somewhat redundant. But hey, if you're not a guitar player you really can't have too many guitar libs, can you? Or strings. Or pianos. Or percussion. Or...sheesh, it's never-ending. I already need to buy another disk drive, both of my 1TB sample drives are nearly full.

I've always assumed it was just to highlight the icon that your mouse cursor is over. Just like the buttons change color when you hover over them, but you can't do that with an image, so you draw a border around it instead.

Nice tune, Reid. Very nice indeed. I love The STEEL, it's one of my favorites. abacab, if you like that one, check out Delta Blues. It's a tossup as to which one I like better. The latter is especially nice through an amp sim. I've tried to talk Tracy into doing a fretless bass, or any bass with slides. He was resistant, saying the market is already saturated with basses. But imagine a nice-sounding bass that could do glissandos like these can...mmm.

Ah, yes. The discount code should have been a tip-off that Craig's making a couple bucks from this. I don't mind, though. Craig's never going to steer you to junk.

$59 intro price

Anyone who thinks they couldn't possibly need a bluegrass fiddle, watch this. It's not my genre, but gosh-dangit, I think I could do something with this.

Yup, that's kind of guy he is. Plus it seems unlikely that a fake site would be promoting his new album.

Worst-case scenario is a full mix with a lot of accidental subsonic content. If you don't EQ that out before compression, you'll be left scratching your head wondering why your mix sounds so lifeless. Fortunately, mastering compressors usually have a HPF in the sidechain for just that situation, so even then EQing first isn't always necessary.

Very much in the spirit of the coffee house tradition. I don't mean online forums, but actual coffee houses like the ones that sprang up in Paris after the introduction of gaslights. Just imagine a bunch of Parisian intellectuals hopped up on caffeine, talking all night. I doubt they spent the entire time staying on topic. And before anyone asks, no, I am not old enough to actually remember that time. Plus I don't speak French.

I, too, am skeptical that music can save the world. After all, the world will still be here after humanity has left it. But I am certain that when music disappears, humanity will not be far behind.

No. I played Wumpus, Colossal Cave and Lunar Lander. Not on a Teletype, but a GE Terminet, which was to a Teletype what an electric typewriter was to a manual typewriter. You're really challenging my memory cells here.

I am intimately familiar with the model you're referring to...19 heads, 20 platters, 300 MB capacity, similar in size and form factor to a top-loading washing machine. Those things used to go for $60,000. Weighed about 200 lbs. Were never popular with laptops.

Agreed. And it's a shame, too, because it's all very high-quality - and often unique - stuff that more people should be exposed to. At the very least everybody should go grab the freebies.

To be fair, the OP did at least come back to read the responses. Some folks are just shy, I think. Something the four of us that replied, all of whom being pretty much the opposite of shy, can't really comprehend, .

Channel 1 is the most common default. By default, Kontakt always assumes channel 1 for the first loaded instrument, then assigns channel 2 to the second instrument, and so on. Omni, btw, means the instrument ignores channel numbers altogether and responds to any MIDI coming in regardless of what channel it's on. There is a quick test to see if the instrument is "seeing" MIDI. In the instrument header, to the left of where you set the MIDI channel, is a little indicator that flashes whenever the instrument receives MIDI data. If it's not flashing while you play back your project, that usually suggests a channel assignment mismatch. Your problem may not be a channel assignment issue, though. It may be a quirk of the instrument. Some, for example, require at least one CC1, CC7 or CC11 event before they make any sound. I am not familiar with Sine specifically, but its name suggests it's an orchestral tool and these CC requirements are common among many orchestral instruments.

And before large-capacity disk drives were a thing, bulk storage was on tape, which was loaded onto a tape drive. Only the very earliest of those had capstans and rollers; they were driven by synchronized DC motors connected directly to the spindles, with vacuum columns to take up the slack during fast stops and starts. For all their complexity, when they broke it was always the same part that failed: just like your solid-state guitar amp, it was the heatsink-mounted bank of 2N3055s that made up the power amp for the motors. And those drives were dangerous: if you forgot to extend the stabilization arms on the rack when you pulled out a tape drive for maintenance the whole rack could come down on you. Don't ask me how I know that.

I could have some fun with that one. The handclaps and footstomps are nice. Would snatch it up if it had more variation beyond just "whoa". Hopefully they'll post a proper walkthrough; maybe there's more to it than the demos let on.

Anarchist!

Everybody has it. Comes with Cakewalk. We just cleverly refer to it as an "equalizer" so as to not run afoul of any BBE patents.

I've got some of those as well, but mine don't look as nice. I have a cat.