John Bradley

But the important thing is, IS EVERYTHING LOUDER THAN EVERYTHING ELSE? ? I mean, it's not a modern mix if it isn't pummelling the listener into submission. As for the guitars, something something BIAS FX something... Anyway, thanks for the comments guys. Feedback is always appreciated!

So... if you fried up a rabbit and put it on a roll, would that be a Bun-Bun? And if you ordered the extra-large version of same, would that be a Super Bun-Bun?

Hmmm.... Downloaded the demo of Largo, and while I was there grabbed the demos of PPG3 and Nave. Not impressed. I suppose they all sounded nice enough, but the UI! The preset browser defied my attempts to change presets. A single click does nothing, and a double-click lets you rename the preset. Very old-school with banks and whatnot. (I'm coming from the perspective of somone used to Arturia's excellent preset browsers, where all patches are in a single giant list, and you can search, filter by categories, easily move up/down through the search results, etc. It's all very civilized.) And the chrome look: needlessly fancy and hard to read. Compare to the plain, but eminently usable UI of the Valhalla plugins. The PPG3 demo was even less intuitive. And Nave was just ugly. Oh, and none of the demos created entries in the Settings | Apps list, and only one of them left a "uninstall" shortcut in the start menu, so cleaning up the mess was slightly irritating. Wouldn't buy any of the 3 at $25, let alone their crazy-high 'normal' prices. Again, maybe they can make some great sounds, and maybe with some reading one can figure out how to use them. But the first impression was godawful.

I hear that. I see these synths (both keyboard and desktop versions) being demoed at NAMM, or on Sonicstate, and I'm like "great: make a VST version of same for <$100 or so and get back to me". Most recently the KORG Wavestate. (I have the old Wavestation vst, but the new synth seems much better... which could be just an example of "gives good demo".) Not a keyboard player; no desire to own any hardware. I'm one of those do-it-all-in-the-box guys.

They already sell those at Eden Fantasys. Some of them even have tails attached!

"I like big buns and I can't deny..."

You could always Process | Apply Effect | MIDI Effects... to freeze whatever changes you've introduced via Quantize effect, and then go fix up the areas that need to be straighter, or whatever. Also, the Apply Effect command only applies to selected clips, not the entire track, so you could split the bits that you want effected differently into their own clips, and leave them out of the freeze. The Apply will remove the fx from the bin, so they'll revert to their 'as recorded' state. You could then drop a Quantize effect with different settings and just apply it to those segments. Nowhere near as convenient as having automatable paramters on the midi fx, but it is what it is. ...and also what scook suggested about doing per-clip fx instead of at the track level.

So they're pretty much the anti-Native Instruments.

Sure, do it all the time. After flattening the comp down to a single lane, close the take lanes pane and make sure you're in 'Clips' mode on the track. Then just zoom in to the offending breath, select it, and hit DEL. You can also split the clips, change the start/end points, and add fades as desired.

Precisely. I often do a dual-amp setup panned hard left/right in Axiom, driven by a single guitar track. If I turn the Pan (actually 'Balance' when working on a stereo track) knob away from center CW's console, all I'm doing is turning one of the two amps down, screwing up the relative volumes of the pair. That's where having a Width and (true) Pan control would be nice. Width to reduce the hard left/right pan to something less extreme (say, 20% L / 20% R) and then a Pan to rotate that whole pair over towards one side or another, without changing the relative volumes of either amp. Of course (in this particular case) one can go back into the amp sim and pan both amps straight up the center. Then the Pan control will move them left or right in the mix without changing their relative volumes. But now they're both coming from the same position... Great that it can be done with various plugins, but this seems like a function of the Console. I'd like to see it added there, rather than relying on 3rd party (or pre-Bandlab) plugins.

That demo is amazing... possibly proof that Zynaptiq has made a deal with the devil. As it's outside my price range (see also their reverbs), I'm thankful I have no particular use for it.

Now I want to see a Grace Kelly & Leo P. cover of same...

Fame cover Recorded this one in December of last year. Technical data, such as it is. Nothing fancy going on here. Drums: Session Drummer 3 Synths: Hardly any. MODO BASS providing the bass part, as it so often does. A little bit of TruePianos Cakewalk which I bounced and reversed, and a TX16Wx for the vibraslap Guitars: 5 tracks recorded with BIAS FX, from back before I'd discovered Blue Cat Audio's Axiom. Effects: standard ProChannel modules, plenty of BREVERB in various places, some 2getheraudio ST3REO on the vox, Arturia's DELAY Tape-201 on the lead vox, and Ozone 8 doing its thing on the master bus. And much Melodyne Studio 4 to make the singing vaguely acceptable.

And that's why I run "Waterfox Classic" as an alterative browser. It's a fork from an older version of FF before the Great Breaking of all the Plugins, and as such can still run all the old Plugins, most notably "FlashGot" — which lets you download videos from all sorts of websites, as well as YouTube.

I've got Syntronik and Arturia Collection 6. I never use Syntronik, and use something from Arturia (the Mini, the Jupiter, the Prophet, or one of the organs/eps) on nearly every project. Biggest problem witn Syntronik is, being sample based, it takes an irritating amount of time to switch presets. With hundreds (thousands?) of presets, I've never been patient enough to listen to the vast majority of them. And I'm of the opinion that whatever realism improvement there might be from using samples of the real deal — versus just doing it algorithmically — will be lost in the mix. Particularly after you add chorus/delay/reverb to fluff up the sound to "as heard on records" quality.

A pleasant-sounding powerful subtractive synth with a nice 1-screen UI (that doesn't try to look like 50 year old hardware) and 2500 presets for $10. No brainer! Hoping I can retire the Arturia stuff I normally use, simply because I can never remember the arbitrary limitations inherent in emulations of gear from the Olden Times.

Excellent! Bought. And if you purchase this month they throw in a free "EDM Mega Pack 1" (normally $47 or so they claim) which has around 10GB of... stuff. Samples, loops, 'construction kits'(?), 'drops', FL Studio templates, presets for synths I don't have (Serum, etc.), and a host of other stuff I'll never use. But hey... free sh*t!

Speaking of Overloud... have they ever offered a 'deal' on BREVERB2? I use the Cakewalk edition of same for everything, and would like to have the complete version with the extra algorithms and whatever else they throw in. But not for $149.

I've got all their stuff. Some of it is of minimal use to me, but I can heartily recommend the CL4P, SN4RE, and K1CK percussion synths. As well as the ST3REO widemofier thing. And all of it's worth at least $10/ea.

Well, if I remember my high school Spanish - and I don't - "crotales" are either a Mexican dessert, or the dangly bits on a man. Possibly both. Either way, a welcome addition!

There are many things called a Line 6 Toneport, so I'm not certain which one you have. Some of them appear to be mono interfaces. What you need is, at minimum, a stereo audio interface. On one channel you'd either hook a mic aimed at your amp, or the amp's "modeled out", if it has one. On the other channel you'd record the dry guitar from your DI box. (Assuming your DI box has a pair of 1/4" jacks and an xlr. You plug the guitar into one of the jacks, run a cable from the second jack to the input of the amp, and connect the xlr output to your audio interface.) Depending on what line 6 amp you have, you might not even need the di box. Some amps have a dry out for just this purpose. --- Personally, unless you love the sound of your amp, I'd forego the amp entirely. Just record dry guitar into the daw and do the amp/fx stuff in the box. Simplifies matters, lets you record silently through headphones at 4am, gives you the option to build more complicated patches than your amp can presumably do (e.g. dual-amp seups with different fx chains on each, etc.

Thanks for the heads-up, both on the compatible-with-my-lifestyle pricing and the suggestion to favor the VST2 version. Bought!

Huh! Been using CW forever and can't say I've ever even seen those dots, let alone known that they served some useful function.

Don't think you can do it without using some third-party program (e.g. "mediainfo", "ffmpeg", "vlc media player", etc.). You can make an educated guess, though. Right click, Properties | Details. Bit rate will be one of a few common (and unfortunately, not unique) values: 44.1/16bit mono = 705kbps 44.1/16bit stereo = 1410kbps 44.1/24bit mono = 1058kbps 44.1/24bit stereo = 2116kbps 88.2/24bit mono = 2116kbps 88.2/24bit stereo = 4232kbps ...and so on.

I'd imagine most people have Windows set up to use their on-board Realtek audio by default for all the windows-related beeps and boops, browser audio, and whatever else needs annunciating, while using a Professional-ish ASIO audio device of some sort strictly for their DAW. At least, that would be my recommendation.