bitflipper

I haven't seen all these gathered into one place before. Put your headphones on for this. And yes, as the narrator suggests you will want to turn the volume down as these videos have been heavily compressed for maximum loudness.

Virtual instruments can be a source of inspiration, even serendipity. In my current project, I created a temporary drum track using the TTS-1, as I often do. But then on a whim threw some distortion on the TTS-1 and squashed the hell out of it with the over-the-top LoudMax limiter. I liked the result so much that I decided to leave the TTS-1 in as the primary drum synth. But I wanted a more resonant-sounding kick so I used a Kontakt library made from plastic water jugs. Sorry, Superior Drummer, you'll have to sit this one out. As to "how can you have guitar acquisition syndrome for a vst?", the answer is sampled guitars. This project started out as a demonstration for Indiginus' latest offering, called Generation Electric Guitar, which I was reviewing for SoundBytes. The demo didn't get completed in time for the article submission, so I decided to flesh it out with a bunch of other guitar libraries: Indiginus Steel (lap steel), Indiginus Renegade Electric, and both electric and acoustic 12-string guitars from Orange Tree Samples. Maybe I'll try to squeeze in every guitar library I have, although it would take months to cycle through them all. Maybe I'll find some inspiration in Cinematic Guitars today...

Should be one of the ten commandments of forum posting.

Hungarians. Gotta love 'em. Not just about red food.

Put your CC automation on a separate track, then clone the track as many times as you need. Be sure to check the box labeled "link to original". Any changes you make to the original track will be automatically mirrored across all its clones, so you'll only ever need to edit that one original track.

No need to feel stupid. This may change in the future when everyone's implanted with knowledge chips at birth, but AFAIK nobody is born with an understanding of either expression pedals or MIDI. You can buy an inexpensive adaptor that converts the variable resistance in your pedal to MIDI data. Works for any resistance-based or switch-based analog pedal. You'd then be able to keep the pedal you've already paid for. For just a little more money you could get yourself a cheap synthesizer/MIDI controller that has an analog input for an expression pedal. That would open up even more possibilities for data input, even if you're not a keyboard player. You could, for example, pound out drum beats with your fingers. And of course, use the expression controller without the need of an adaptor.

Error 3 means "path not found". Nullproxy.DLL or one of its associated dependencies is missing. Looking at nullproxy.dll's dependencies, I see that most of them are standard Windows files, which aren't likely to be an issue. It does, however, also have the expected dependencies of the C++ runtime libraries. michheld's intuition regarding the C++ distribution may be on the mark. Normally, if the runtime libraries need installing, the application's installer takes care of that automatically. Sometimes, though, it fails, and it's usually a Windows permissions issue. I would suggest starting with a re-installation of Cakewalk as Administrator.

Something about the layering of many voices just turns my crank. It's a form of crowdsourcing. Doesn't matter if you've got a bunch of great singers or not. Some might be flat, some sharp. In the aggregate they sound great.

The reason I asked whether they were encoded files is that importing a wave file should not alter it in any significant way. Because you can not only see but actually hear distortion means it's not a subtle process. The fact that the source files are not actually clipped indicates that something unpredictable is happening to them on the way in. There are only a few processes that might conceivably be applied on an import: conversion to 32-bit wave from some other format, sample rate conversion, wordlength expansion, or conversion from stereo to mono. I can't think of anything else. Converting to 32-bit float from 24-bit integer wouldn't do it. Even though the imported file would technically not be the same data, you'd never hear the difference. SRC could also be eliminated as a suspect if the source files were already at the project sample rate. You didn't say if that was the case. But even then I'd expect any distortion to be inaudible. Wordlength expansion isn't the problem, either. Even though fc would show the imported file is not identical to the original, you wouldn't hear a difference. So my best guess is that the source files are stereo and not mono-safe, and you're importing them as mono. Just a guess, based on the process of elimination.

Are these 24- or 32-bit wave files, or are they in a compressed format?

I don't see any significant downside to sticking with an older DAW, as long as it does everything you want it to do. X1/2/3 or even 8.5 isn't likely to suddenly stop working, especially if you freeze your Windows version. A perfectly do-able strategy if you intend to always dedicate the machine to just that purpose. Tape machines from 1974 still work if you take care of them properly. That said, X1 is not the version I would have chosen as my forever DAW. Because it represented a fundamental rewrite, it predictably had more problems than any other version prior or since. Yes, obsolescence will eventually be forced upon you. But as Kalle notes, it'll be because some hardware component has failed and no compatible driver exists for a its replacement. Still, an old computer can be kept running for a very long time. Just keep it clean, keep it off the internet, and keep your backups up to date. And don't toss all of your old disk drives - store them someplace dry, in electrostatic bags.

Just automate the plugin's Mix or Wet/Dry setting. Same result, and it'll be consistent regardless of what plugin you're using. Unless, of course, the plugin has no mix control. Fortunately I've yet to see one that doesn't.

I do recall having that happen to me once, back around SONAR 7 or thereabout. It's no big deal to fix, though. Just create a new bus the same way you created the other two. There's nothing special about the master bus other than it's (usually) routed to the hardware outputs.

Sadly, I don't think the Sampletank kit is the one featured in the documentary. They say it's the kit he used on the Snakes and Arrows record and tour. That's my favorite Rush album, though.

There is actually some truth to that in my case. At age 14 I begged my parents for a drum kit. They declined. Oddly, when I told them a local rock 'n roll combo needed someone to play organ, Mom went out the very next day and bought me one. And thus this frustrated drummer became a keyboardist. I thanked her years later.

Can't believe I just sat through an hour-long commercial for DW drums - and I'm not even a drummer - and thoroughly enjoyed every minute of it. It's encouraging that in today's world of cheap mass-produced crap there is still a place for craftsmanship. Yes, I would gladly pay for a sample library of those drums. Preferably as an SDX, as I'm confident the Toontrack people would do it right.

NOT SURE THAT'S POSSIBLE, BUT NOEL WILL KNOW...damn, I'm having the same problem with caps-lock. Must be that 5G virus. Implementing this assumes that plugins report back to the DAW when it's been internally bypassed. Bypassing is more complicated than you might assume, and bypassing within the plugin versus by the DAW are not at all the same thing. Furthermore, plugin makers are not required to implement every VST function. Although a mechanism is defined in the VST spec for notifying the host of state changes, it incurs a great deal of overhead and is therefore may be impractical during playback. From the VST3 specification (emphases are mine):

I used to experience this every time I used Melodyne. I first noticed it at version 3 and it continued to be an annoyance with version 4. Version 5, however, does not seem to have this issue. My assumption is that enough users complained about it (I was one of them) that Celemony decided it would really be OK if your selected data scrolled off the screen - just like every other piece of software on the planet, from MS Word to Google Chrome. As far as the question of bounce vs. region render, I wouldn't expect to hear any difference in quality either way. More important is to only render once if you can, because even though Melodyne does a spectacularly good job of it, a small amount of artifacts is unavoidable and those distortions are cumulative with each re-render. As others have said above, I like to split my vocal tracks into small clips and work on each one individually, rendering as I go. timboalogo, yes, you can re-edit a rendered clip, but it's not a practice I'd recommend. Whenever I notice a phrase that needs tweaking but is in an already edited and rendered clip, I'll split out that phrase into its own clip and apply Melodyne just to that. Chances are it was never actually edited by Melodyne to begin with, so there are no artifacts to compound.

I usually reach for OTS' Stratosphere, a Strat sample library, for that kind of thing. Here's a cover of Sleepwalk that I did with that guitar. Not surf, but from the era when surf was most popular. https://soundclick.com/r/s7wj1l

Panning audio gives you the option to use true stereo panning. It also assures consistency by not depending on how the instrument vendor implemented panning, even if you later substitute a different synth. It means you can adjust the panorama while mixing, even after the synth has been rendered. You are able to visually see pan settings in either track or console views without having to open the synth's UI. But if you never plan on rendering your synths to audio and prefer to keep the project as solely MIDI right up until the final export, then use whichever method you feel most comfortable with.

I did not know that. Well, I like Gouda cheese, so there ya go.

Maybe not. But there is a Holland, TX and a Nederland, TX. This is the state where German is spoken by many, where there are more tigers than there are in Africa, where 85 MPH is still a legal speed limit and dead little walking tanks litter the highways. It's the only state where your Hammond B-3 isn't guaranteed to be in tune. Happy, Smiley, Zipperland and Muleshoe are real places in Texas. As are Bonham and Bowie.

The cowboy boots are a nice touch. The photo may have been taken in Amsterdam, Texas.