mettelus

Quick post so I remember to follow up on this. Is this similar to Reallusion where the brunt of things is focused on third-party sales? My biggest gripe with Reallusion has been issues with bouncing models in and out of Blender, so wondering if this is pretty much the same in that regard. Update to the above: The video below has a nice summary of the final release of Poser 12. I had never heard of Poser so was curious about it. Blender still gets a lot more recommendations on 3D-specific material (and is free).

Ain't that the truth. I grew up in the boonies so never had cable. I think I watched MTV all of one weekend when visiting my great aunt during their first 8 years.

+1 Don't over complicate things. You can work with and fire off samples probably quicker than finding an "instrument." There are free samples all over the internet. You can either MIDI fire them or construct audio groove clips for each song section (so you can drag the right edge out once you have a bar or two).

If a disc is close to full, definitely consider transferring about 10% of that to another drive (even temporarily). There are system and app temp files that need places to go, so that will stress your system if you get over 90%, especially on the C drive.

I think MConfusion and MBaffle were added, but I am not quite sure what they do?

The mic flub in that was a perfect anecdote of a happy accident, and they tend to be more common than some would think. Not only does tone chasing involve the gear, but also the recording setup (which could be a one-off situation you can't "quite" replicate later on).

Not that it was spectacular, but the sheer duration stunned me. Each year there are 2 concerts at USNA (seating capacity of only like 5700), so often older bands would come. Senior year we all voted for one concert... "Nine Inch Nails" won, but then backed out at the last last minute. Tesla said, "You need us, we will be there," and they kept their word. Opening set went an hour (Firehouse), then Tesla went on to play 2 1/2 hours. I was never a big Tesla fan before that, but afterwards told someone, "What made that truly impessive for me was they get 'stuck' with a concert to maybe 4000 people and poured their all into a 2.5 hour concert." Never seen anything like that before or since. The singular one-off comment that was memorable came from working the crowd... Bangles show and Susanna Hoffs comes out wearing a midshipman cover. Plebes were required to attend in uniform, so she comes out, surveys the crowd and the first thing out of her mouth, "Ooooh, we just LOVE seamen!!" That play on words was priceless.

+1 to what Shane said above. The heater is another "radiator" in the dash of your car, so when the radiator isn't effective, it gives you another means to pull heat out of the coolant (the heater loop is also always "online" if you have a situation where a thermostat valve fails and the radiator never comes online). This works, and I have resorted to it, but what totally sucks about it is that you will only need it when it is hot outside, so it makes the passenger compartment a miserable place to be, even with it blowing on the windshield with all of the windows open.

There was a thread years ago discussing similar regarding the frequency collisions on the lower end during live performances (I seem to recall @Bapu and @bitflipper were in on that). One of the punchlines in that was, "We had the piano player sit on his left hand." (to avoid over-driving the bass player). Due to the tuning and string configuration of a piano, it is a very rich instrument, so your example above is a valid approach to adapt. Definitely a case-by-case basis assessment. Another "trick" commonly employed is using frequency masking (where a signal 1-2dB will tend to dominate) to your advantage. If a part is repetitive, once the listener hears it, they anticipate it, so it is also common to take that part and reduce volume 3-6dB... the listener still "hears" it, but it is deep enough that it removes most of the collision issues. That repetitive part will then often ramp in and out of focus (volume automation) as the song progresses to keep it relevant, yet not dominate each and every song section.

Not to my knowledge. While in the digital realm, positive feedback loops are not necessarily destructive (although they can be), in the output realm, and particularly to hearing, they can be catastrophic (why interlocks and limiters are commonly used). Without dampening in a system or a negative feedback loop to counter it, a positive feedback loop is always going to ramp to the system limit... the only real variable is how quickly it does so. Is it possible to do what you are seeking as a side-chain input?

Once activated, Splat should stay that way. There is no activation "cycle" with it, it just updated the version allowed by your membership. I cloned my C Drive a few years ago to use a bigger one (using Macrium Reflect), and only recall a couple apps that needed reactivation. Splat was not one of them, and I totally forget now which apps needed it.

My shingles are getting to end-of-life. Not only do asphalt shingles have (a lot of) weight which I don't care for, but they also retain and absorb heat, especially when the aggregate starts wearing off. I started calling around about sheet metal last week... my only concern with that is painted metal can be slicker than snot when wet, whereas asphalt shingles are like sandpaper. One guy I talked too started talking pitch (not traction), and I just told him, "Without traction, all pitch is going to do for you is determine how far from the house you hit."

It caught me off guard that she had never heard Limelight before, and her mindset of just tearing into it rather than over analyze it was impressive and the absolute best choice IMO... that showed off her mindset and skill set from the get go. As I was watching her go it reminded me of one of my favorite quotes: "Never tell people how to do things. Tell them what to do and they will surprise you with their ingenuity." When you have a seasoned expert present, this tends to always be the case. Incredibly skilled with a great personality and sense of humility, that is going to take her far. Pitting her (or anyone) against Neil Peart is a real challenge... I cannot image anyone not ever hearing Tom Sawyer, but as I watched her I wondered what she would do with that. Limelight has had so much air time, I am still shocked she hadn't heard it before!

Most likely the "instantaneous" mpg... it pegs at 99 and will hit when at idle and going over 45mph or so (i.e., pull your foot off the gas at 60 and the instantaneous mpg spikes, but the car slows down too).

Tire OD and gearing can help a LOT with mpg, for sure. I do not have the luxury of altering either (wheels won't turn in the wells if larger, and the transmission is the size of a basketball). I think Ford did a study in the 80s and said an Escort (those box-like ones from the early 80s) took 12 hp to maintain at 60mph on the level. Most gas is consumed at idle and accelerating, and my car is similar that it gets better gas mileage getting to speed quickly then coasting. Locking torque converters help as well (more common these days), since they remove the power loss from that fluid coupling when operating steady state. The impala is the only vehicle I have that is not "historic," and those are lucky to get 16mpg if you drove them off a cliff (the mustang in my profile pic gets 12.5, so when I restore that one (saving that for last), I am also going to severely aftermarket it as well). Anything with 13-15" rims just tends to drink gas anyway. Oddly enough, since this is the "It's hot" thread, I replaced the radiator in the impala last summer (there is an inch or less of clearance for every part that goes into the front frame of that vehicle), and even though I was looking RIGHT AT the AC condenser, I chose not to just do an AC overhaul as well even though it was at 250K and the AC was deteriorating. Of course the AC gave up the ghost this year, so that car sits with the entire front end off awaiting a new condenser to arrive. I told a friend, "That is the only vehicle I refuse to drive without AC because it is black... plus that is my fault anyway... I chose the lazy route last year when I rebuilt the rest of the car, so is probably God's way of saying, 'Stop being lazy!'"

Another definitely legit. I forget now what they did a few years ago, but I seem to remember they rolled the "mandated sales tax" onto their credit card for purchases you make with them (as a refund back to you). I am not sure if that is still active, but it was a nice gesture to their customers at the time. I have not bought from them in a while, but they often bubble up on the list when looking for a specific product.

Is sad I never look this stuff up until after the fact, but I always associate "Oak Ridge" with ORNL... sure enough that is where they got their start during WWII to entertain the folks working there in isolation. Interesting history on that band I never realized. RIP

LOL, yeah... I have milked my 5.3L LS4 to 40mpg when the tank is low commuting on the freeway, but it also drops into 4-cylinder mode for that trick to work. I mentioned that at a shop once and the guy behind the counter just looked up over his glasses and said, "Only if you keep your foot out of it." I had to chuckle and say, "Valid point... if I put my foot into it, I have gotten it to drop to 3." That engine drops into 8-banger mode at lights (where it consumes the most gas - 2 gallons per hour at idle), but I am not a fan of the new "engine shutoff" feature in new cars... the first rental I had with that I thought died at the first red light and my initial reaction was, "You have got to be kidding me!!"

Have you considered focusing on your FX chain instead? As long as the signal is captured cleanly, that FX chain does the grunt work (and can even shift the EQ profile from one mic to another, which is on a few websites to "check" different mics). The reason I say this is because say you have a incredibly dominant third harmonic in your voice... the mic isn't going to resolve that in any way (it walks the spectrum depending on the note you are singing). The mics you have now should ALL be fine for capture purposes... I would focus on the output and create an FX chain that yields the results you want. Side note here... Take a look at your captured dry signal and spend time analyzing that in gory detail with SPAN (or similar). If you have harmonics that cause the issues (this is a common issue actually), Melda's MCharacter is worth doing a trial on to test (make sure it is on the dry signal, and other FX are after it). It is the only plugin I am aware of to dynamically adjust the timbre of a signal (and excels on monophonic dry material). Quick Edit: The MCharacter teaser may better demonstrate what I was trying to articulate above (around 1:30 into that teaser is a clearer explanation).

I just checked quick and Scaler EQ is still at version 1.1.1. The biggest liability of this plugin is that it is static (i.e., not capable of following a chord track or adjusting resolution to the current chord in the song). While the key parameters can be mouse-clicked during playback, there are no MIDI taps into them (a little better), nor the ability to have this be automatic (ideal case). While this can be useful on isolated clips, it is not practical and too much overhead to utilize effectively. The original post I made reviewing Scaler EQ is here, with a quick follow-up post just below it. The link to the post on the Plugin Boutique forum is in that follow-up post, which had requested pretty much the same thing that I did way back when. Without the ability to follow a chord track or the active chord, Scaler EQ is essentially a dynamic EQ with a little better refinement, but remains "static" by key/settings chosen for the clip otherwise.

https://discuss.cakewalk.com/topic/71402-scaler-eq-crossgrade-from-scaler-44/?do=findComment&comment=506441 On cell here, so not sure if that link will work, but I reviewed Scaler EQ when it first came out and PB had a similar post. I am not sure if that has been resolved though (it was a static plugin on release regarding chord/key). Not been tracking it specifically.

Something to consider is to use what you already have and use Melda's MCharacter on the result. A flute is an open-ended pipe so the harmonic series is restricted. MCharacter allows you to surgically adjust harmonics (and flute is one of the presets you can trial with it if so inclined). Basically use EZ Keys to output a piano and then MCharacter on that output. Try to keep that output dry though, add processing after MCharacter. There is a free trial if not already used, so worth a shot to see if it suits your needs, then wait for it to go on sale.

For live is there a reason not to use an SM58? Cheap, durable and no pop filter should be required at all (more adjusting standoff distance as needed). Dynamics fall off dramatically with distance, so background noise is far less concern with them.

Eye opener for me. Ripple editing out silence as an automatic function (i.e. for dialogue) is not as common as I expected and seems more prevalent in video editors. But even in DaVinci Resolve, that is a paid feature (part of transcriptions) requiring Studio. Logic is actually your best bet to do that part (then you can export that and work in any DAW you choose). If locked to a PC, Reaper is the only DAW that seems to support this (will also do videos) as the cheapest PC alternative. There are also a few websites that will do this for free (just noticed them in passing), but I am hesitant to pass massive files as an upload in that manner (that would depend on your personal preferences and upload speed available).

...they don't last very long. I haven't seen a company yet that told their customers, "Shut up and give me your money!" survive. You would expect that line to come from a mugger, not a company representative (regardless of level). Oddly enough, I got a call yesterday about another company who buried themselves (totally gone) in roughly a year due to arrogance. Even Gene Simmons realizes you cater to your fans... they are the hands that feed you.