bitflipper

I guess anybody can make a "documentary". Take video from the TV news, research a few facts from Wikipedia and make up the rest, upload it to YouTube and wait for the clickbait ad revenue to roll in.

Of course I believe in Sasquatch!

Admittedly, the calculation was done in my head without the aid of maps or a calculator. Feel free to check my math. I have a long driveway, about 600 feet. That's 1,200 feet round-trip, or a mile per 4.4 trips. A thousand trips would be a little over 200 miles. Oregon is 300 miles north-to-south and 400 miles east-to-west, so 200 seemed a reasonable guess.

Back in SONAR days, Cakewalk would license plugins from third parties to bundle with the DAW. These cost money - built into the price of SONAR - so they were modified so as to only run within SONAR. There were also some plugins developed in-house for exclusive use with SONAR. Again, there's a cost there to be recouped through sales. Either way, it wouldn't make business sense to subsidize other DAWs by letting people use these plugins in rival DAWs. Every DAW vendor does something similar. Today's Cakewalk is a free product, so the previous model won't fly anymore. Bottom line: just re-install SONAR. Except for sample-based synths such as Dimension Pro, SONAR has a small footprint and it won't conflict with Cakewalk. So there isn't really any reason not to have SONAR on disk. Which specific plugins are you after? After SONAR's collapse, some generous third-party vendors provided open versions of instruments previously locked to SONAR. Others have offered discounted crossgrades.

Especially when you couple them with a good mimic who can do the voice believably.

^^^ this is the best way to do it for any sample-based instrument, because neither the instrument nor the DAW know you've even done it. No settings to fiddle with, no broken projects, no overlooked steps to worry about. It just works. I would leave the instrument itself where it is and just move the samples.

You're on the right track. It's the MIDI Filter plugin you want for this job. Set the minimum velocity to, say, 40 (just guessing where your ghost notes fall). That's it. You can either filter them out nondestructively in real time or bounce the track with FX to get rid of them for good. I'd recommend the former just in case you realize later that you've removed some hits you wanted to keep.

Here our standard unit of measurement is Rhode Island. Connecticut if a bigger unit is needed. Texas if we're talking really big. California if it's economics rather than geography (if CA was a country, it would be the 5th largest economy in the world). But if you've never been to those places, or only seen them on a map, it's really not all that helpful. You can only appreciate geographic measurements if you've walked them. So I think of the Oregon fires as being as wide as 1,000 trips to my mailbox.

Sorry, I saw it in the beta 1 release notes just yesterday.

We probably shouldn't get everybody excited about a feature that hasn't been released yet. But yeah, that's a good one. Almost as good as the one listed after that one. Gonna make some people very happy.

It ain't much better here, a hundred miles north of you. It's like a foggy day, except the "fog" is brown and makes you gasp for air. We're supposed to stay indoors with the windows shut. That would be a reasonable plan during the 9 months of the year when it's cold and rainy here. But in September that can make it too hot to sleep at night. Choose between not being able to sleep because it's too hot, or because you can't breathe. Either way, it's not going to be a restful night. On the plus side, it smells like the whole world is having one giant barbecue. Except when the smell of melting plastic gets mixed in. That's pretty nasty, and you try not to think about the reason for that smell, as it's probably somebody's home and/or car on fire.

I can count on one hand the number of plugins that I use on every single project. This is one of them. Yes, you can do the same thing with Channel Tools, but not nearly as conveniently, especially if you want to automate panning on a stereo track.

"Phaser sound" is the clue. You get that whenever two tracks containing identical audio are played back that aren't in sync. Figure out how that's happening and you've solved your mystery. If Steve's buffer suggestion doesn't help (it's easy enough to try), the next area of investigation would be routing issues. The best tools for troubleshooting such things are the mute, solo and bypass buttons. Start by soloing the drum bus. Does the phasing go away? Mute the drum bus. Do all drum sounds go silent? Mute the master bus. Does the entire project go silent? Even though you have no fx on the drums, bypass all fx globally and see if the phasing effect is still there. If there are multiple tracks for the drums, solo each one in turn and see if one of them exhibits the effect but not the others, or if the effect is only there when particular combinations of tracks are enabled. Verify that the polarity is the same on all your drum tracks. If, for example, the snare mic and overhead mics are out of phase, that can cause exactly the symptoms you describe. Bounce the drums to a new track, then solo it. Or, alternatively, export the drums and listen to the file with Media Player or some other external playback software. Is the phasing still there?

Ah, so apparently some people assume it's the MOUSE that's 35" wide. That explains the one-star reviews on Amazon.

Got tired of my mouse falling off the edge of my mouse pad, often in the heat of a virtual zombie battle. So I got one that's 35" wide. An early birthday present for myself. At least, that's how I justified the $18 expense.

But then what would hold up your coffee table?

Unless your MIDI file includes a sysex dump, it will have only patch selection information, not instrument selection per se. There's a difference. Assuming no sysex, your MIDI file specifies generic bank and patch offsets that don't address any specific instrument definition. You'll only get, say, "cello" if the target synth has loaded a cello patch at the same bank/patch offset. If you're using General MIDI-aware synths, that shouldn't be a problem. That's the whole idea behind GM; it's a standardized patch list. However, bank/patch-change events are optional. In the absence of those commands, the synth will default to bank 0, patch 0. Which, in a GM-compliant synth, is always Piano. The MIDI file format is probably not relevant, as all of them support patch-change commands. Your problem is most likely that no patch-change commands are being included in the file. They won't be written unless you've specified the bank and patch via the dropdown lists in the track header.

I've heard those S3A's (well, not those specific ones) and they are frickin' amazing speakers. Built back when the company's founder was still around and all their stuff was still made in Germany. If I was in the market, I'd definitely consider driving from Seattle to the bay area for them. I always tell people to buy studio monitors used. They don't wear out, don't get abused, and you're able to get quality that's a few notches above what your budget might otherwise allow. Note that these aren't exactly nearfields; they like to be a bit further away from the mix position than their smaller siblings.

I've heard your stuff and I gotta say you're doing just fine on your own. You sure don't need my help. That said, any time you want a second opinion, feel free to hit me up.

Have you noticed that since the weekly half-off sales began, Melda pricing has been slowly creeping upward? Today the 50% price is sometimes higher than the list price was a couple years ago. I'm still a fan, but Vojtech's stuff ain't the bargain it used to be.

I can relate, Greg. I'm in a creative slump, but am currently working on two friends' albums. I am contributing only technical chops, nothing musical. But there is satisfaction in making somebody else sound good, right?

Don't get your hopes too high expecting a miracle, Alan. Yes, if you're doing large orchestral projects with deeply-sampled libraries (like Micheal does), then it could make a big difference, especially if you optimize your VIs to make use of the extra RAM. But don't expect projects to load faster or playback to be smoother. You still have to read the data, which is still going to be throttled by disk latency, the I/O bus and the speed of the memory itself. It's true that "you can never have too much RAM", insofar as there is no downside other than the money you've spent on it. However, there's no benefit if it never gets used. I have only 16GB here, and have yet to run out of physical memory. YMMV, of course.

Just speculating, but I'd expect at least small gains in read times, which could improve load times for large libraries. But the gains are going to be small with SSDs, as the main benefit of striped sets is to combat rotational latency and mechanical head seeks, which don't apply to SSDs. I'm just guessing here, since my own history with RAID has been limited to database servers, where many processes are reading and writing large files. DAWs and VIs are designed to minimize disk activity, and with only one user I'd expect only marginal speed improvements. In theory you could reduce the preload buffers of your Kontakt libraries to make initial project loading faster, relying on your fast drives to avoid the usual downside of doing so, namely stuttering during playback as samples are streamed on demand. That might only make a noticeable improvement on certain sample libraries, e.g. those with long samples, such as pianos. As for which makes better use of RAID 0, samples or projects, throughput gains are greater for reads than for writes. So you're absolutely right: static data benefits more. Whether or not you'll actually notice the difference, I dunno. All I know is that I'm far more impatient waiting for a project to load than anything that happens afterward. More than once I've gone and made a cup of tea rather than watch the progress bar creep along as a big sample-based project loads.

Just a thought...are you maybe running SONAR as Administrator but not Cakewalk? I've never heard of such a scenario, but I suppose it's conceivable that Windows permissions could be playing a part in preventing the file from being closed. More mysterious is why it's opening the project file to begin with. Every DAW has its own proprietary and undocumented file format, making it unlikely to be useful to any software other than cakewalk.exe itself. I'll be very interested in what Noel finds out from Steinberg, if indeed they are forthcoming at all.

abacab, you've just described exactly my own experience, and this is why I've avoided iLok ever since. Once upon a time, Eventide was the only company doing what they do. Fortunately, that's no longer the case. I can't think of any H3000 trick you can't do with alternatives that use friendlier copy protection schemes.