Kevin Walsh

That's the guidance from Cakewalk on this issue, certainly, and that's what I've had to do whenever my products update. Interestingly, it's not been an issue with my Reaper projects. Do the update and somehow Reaper just keeps chugging along.

I had this problem with IK product installs. Renaming folders and rescanning is the fix, at least until the next update. Imho, sonar should ideally handle issues like this without crashing but Cakewalk seems to feel otherwise for reasons I'm too dim to understand.

Thanks for your kind comments, freddy, and thanks for listening!

Thanks, Nigel, I grateful for your feedback!

That thing that compels you to express yourself in music and share it is what makes you an artist, not the opinions of others. You don't need to justify your status as artist to anyone. Most forum members here would probably agree that your work is valid and compelling. Gazillions of musicians great and small never learned to read music. I never had training, didn't really pick up an instrument until I was fifty years old. I are an artist too! Keep doing what you do, you have an audience!

Thanks bjorn! It's all in your mind!

Thanks, Lynn!

I really liked this one steve! I agree with the Paul Simon comment, you can hear the influence but this is definitely all your own. Very nice hook in the chorus with the how can I carry on line, very catchy. I have only listened to it on my phone but I'll give it a listen on my headphones later. The piano parts sound good, did you use ez keys sounds or route the midi to another synth? I might have to check out ez keys, I'm desperate for a decent piano player sometimes. I'm having a hard enough time just wrestling with guitar . I have scaler2 which has helped quite a bit but for some reason none of the patterns ever seem to fit what I'm trying to do. How does ez keys stack up to that? Thanks for posting this!

Thank you!

See my comments above. Story aside, I tend to assemble words that sound good together to me and that focus on serving the melody and the mood rather than telling a cohesive story. Thanks!

It's my version of a lament. I sort of had in mind a guy who got himself in debt to an unsavory bunch of folks, leaving him under threat and left with nothing but the ability to whine about it. Thanks for your good advice and thanks for listening, steve!

Thanks very much!

Thanks for the kind words, Steve. I guess the lyrics are kind of abstract. I guess the song means whatever the listener thinks it means. I like the way they sound.

Not sure but I'm thinking of "How Do You Sleep"

Thanks! Your cover of "I'm Losing You" has inspired me to try a cover. I appreciate your feedback!

Thanks, Martin, I appreciate you listening and posting your feedback!

Thanks for listening!

Thanks, jack!

Great clean playing and the fender sounds fantastic. Really like the cleanliness and space in this mix. First rate production!

Here's a new one I'm working on. It's a work in progress in that I'm considering adding another verse and a proper bridge but for now, it's under 4 minutes and I want to see if it stands on its own without them. As always, your comments are deeply appreciated! i got problems verse 1 she said forty one was her number she wouldn't settle for anything less and if i don't like the way she done things here, there's gonna be a hell of a mess there were thirteen stones in my pocket and some cigarettes in my shoes with a fine tooth comb and some dental floss my entire fortune to lose chorus yeah ive got problems I've got problems whoa whoa. yeah ive got problems I've got problems whoa whoa. verse 2 she called a certain number on her ruby red telephone she told her boys to gather up their toys and she took my fine tooth comb i got thirteen bones in my pocket a cigarette in my shoe trouble here and trouble there i aint got nothin to lose chorus oh ive got problems baby jesus i got issues cant you see that i can't be held responsible i got some strange disease yeah ive got problems I've got problems whoa whoa.

Nicely done, bjorn! The library sounds great and I really like the atmosphere you've created with it. I'm still trying to get the sand out of my mouth.

This is one of my favorite songs of all time and this song, along with Number 9 Dream are probably the first songs that inspired me to learn music, so I applaud your choice of songs! You've really put your own stamp on this one and you did a great job with the vocals. The advice on panning is good, and there is something to trying to place band members sonically, but I also consider panning an essential tool for creating space for the listener to feel like they are in a much bigger place that they really are. The best advice I can give on panning is to simply listen to a lot of great productions and hear how they approach building the listening space. There isn't a right or wrong answer. Really well done!

I appreciate your feedback, larry!

Thank you, Wookie, high praise indeed! Thank you for taking the time to listen and comment.

Thanks for listening and commenting, glad you enjoyed it! My wife has long since learned not to ask me how I record stuff, her eyes glaze over after about fifteen seconds of jibber jabber. If I recall (it's been a while) I recorded on whatever version of Cakewalk Sonar was current in 2015. Sonar X3 maybe? For instruments I used a 2005 American Strat and a 2004 Indonesia Epiphone Sheraton into various Guitar Rig 5 presets. To update things I re-recorded the intro lead guitar using the Sheraton into a Tonex Marshall profile I grabbed on ToneNet somewhere. The bass was a 2013 American Precision Bass direct into a Guitar Rig 5 bass preset called "DI". For synths I used Z3+2A for a few patches and for the hammond keys patches. I'm not very good at cobbling together synth sounds. All keys parts were hand-programmed using the PRV. I typically use a separate reverb bus and a delay bus. These days for the reverb bus I use a Valhalla plugin but back then I used the Rematrix convolution reverb plug in in the pro channel. For delay bus I used and still use the Cakewalk Sonitus delay. I love that thing. I put prochannel eq high pass filters on both busses. I'll typically route lead vocal bus and bg bus vocals into both delay and reverb bus and adjust send gain to taste. For guitars I put sends on individual guitar tracks rather than on busses. I also add a reverb send on the drum buss too but easy does it there. I may have put some mild compression on the various busses. For mastering I used Ozone 7 I think, and used some vintage presets to get a nice old-school sound. I'm a big preset guy, mostly because I don't know what I'm doing and I couldn't hear the difference if I did. I may have used the Ozone tape emulator on the master, or maybe the pro-channel tape emulator. I love those but if you go crazy with them things can get pretty noisy. The hardest part was getting the drums to sound right. I use Addictive Drums 2 using a vintage dry patch or a Fairfax patch (can't remember which one right now) with canned midi tracks that get pretty heavily monkeyed with by the time I'm done. I put a pro channel tube driver with some nice saturation on the drum buss to smooth things out and I put an ozone vintage limiter on the bass/drum buss to squish them together. All vocals and acoustic guitar (an old Martin D16GX, a 2000 model I think) were mic'ed with a Microphone Parts T-12 mic I built from a kit. Awesome LDC mic that has a nice old school sound and pretty cheap too. That's about it I think. Thanks again, I'm really encouraged by the great comments here!