The current Tape Op magazine (Aug/Sept 2018) has a positive review of CBB by Alan Tubbs.

booksmusic
The current Tape Op magazine (Aug/Sept 2018) has a positive review of CBB by Alan Tubbs.

Thanks - Here is a link to the review.

I agree it's frustrating - I'd like t see the Slate Raven work with Cakewalk for one. A simple "Please look into Cakewalk Support" or some such comment on their social media pages or support requests will do a lot for creating a demand. If we want them to adopt our DAW, let's simply demand it. 

Audioicon
 
Meng:
I have many contacts in Colleges.
Currently some offer courses in Pro-tools, for students these are not cheap.

Is this something you have interest in? I think getting a foot on the industry will requiring attracting those up and coming producers and young population.

I can only imagine if courses were offered on the PC platform using CBB.

Just a thought.

AI

Hi AI.
 
One thing to consider about why schools teach Pro Tools: Pro Tools is highly likely to be the DAW that they use in their Professional Audio Engineering careers. So the schools teach it.
 
BUT!  I think that for the folks not becoming Professional Audio Engineers (where the studio probably pays for the software licenses), like most non-engineer musicians and home studio artists (to also include people like PodCasters and YouTubers), Cakewalk by BandLab is ideal. Not only does it offer equivalent polish and capability to any other DAW, including Pro Tools, it is the best value bar none, and probably every potential education subject can be demonstrated using it (other than "How to Do This In Pro Tools").


Cakewalk by BandLab is professional grade.

Audioicon

Euthymia
Microsoft, a well-funded company (as is Meng's), came along and bought up the slightly out-of-date Mosaic and started giving it away for free as Internet Explorer.

Can you please explain to me where Microsoft gave away Internet Explorer for Free?
When did this happen?

Happy to! I'm very familiar with www and browser history from the time because I was working at Macromedia at the time, right before it acquired a tiny software company that had product called Future Splash that Macromedia renamed Flash and had a bit of success with.
 
As for "where," it was released in the United States at first, and localized for 95 languages,so I'll go with "worldwide," or wherever Windows and Macintosh computers were used....
 
As for "when," beginning in in 1996. The history is readily available at Wikipedia, but I can give you the brief version.
 
IE started as part of the (for pay and heavily pirated) Windows 95 Plus! add-on package for the then-new Windows 95.
 
By late 1996, it was included with Windows NT 4 and with (free to obtain) Windows 95 Service Packs, and, something that nobody here has mentioned, the Mac version had been released and was freely available for download. Up through IE5, last released in July 2001, they had builds for MacOSX, Classic Mac, Solaris, and HP UX. The Last Mac build was in 2003.
 
They still throw in a copy of it in with Windows 10 for compatibility purposes, so to answer your question, I'll call it 1996-2018. If you want to declare that any version of it originally acquired via a purchased license of a Windows OS was "bundled" and not "free," then 1996-2003, but you can still download and run IE5 on your Mac if you want to (and can find a place to download it from).
 
But if you're focusing on the Microsoft Internet Explorer part of my story and attempting to "disprove" something about it by implying that IE wasn't really "free," then you missed the point. IE has only wound up with 10% of the market. I wasn't claiming any kind of huge victory for them, merely offering them as an example of a company that bought up an existing program and started providing it for free, presumably because they thought it would help other existing (or future) areas of their business. I wanted to point out how long that this has been going on.
 
The browser from the company (Google) that has always been giving services and software away for free is crushing everything else in the marketplace and what was once the "Pro Tools" of the browser market (Netscape) long ago became freeware (Firefox).
 
That's an example of free software having a great deal more respect, despite the parent company's silly-sounding name.
 
I'm saying that what our folks are doing with Cakewalk is hardly a strange new thing, not in the software industry.
 
If someone wanted to float a conspiracy theory with some history behind it, they might suggest that BandLab wanted to create a new proprietary audio file format that they could make licensing fees from and they needed to develop a DAW that could render it. That would fit with Microsoft's motivations for giving away their browser. It would be silly, of course, but at least there would be a precedent in the industry.
 
So I'm not going to armchair quarterback where one piece of software is going to fit in the larger marketing picture at this company beyond the obvious one of it being the offline, desktop counterpart to their web-based DAW.
 
Not when there are so many important things I can nag about like when are we seeing the new forum, can we have a trackable bug database that's open to users, can I have a PDF manual, etc.
 
Oh, and stickers. We must have stickers for our notebook computers running the Cakewalk. The older fogies can put them on the door to their control room.

Anderton
Note that Komplete Kontrol doesn't do full support with Pro Tools, only Cubase/Nuendo, Logic/GarageBand, and Live (of course, most of it works in Sonar, Studio One, Samplitude, etc.). NI is a savvy company that makes more money than most, if not all, DAW companies. Yet they didn't bet on Pro Tools.

 
Question on that bit: If NI hardware has a decent presence in big studios where Pro Tools is likely installed, wouldn't they need to support it? Or do they not have that presence in the big studios?

Or do you use an emulation with the Komplete Kontrol (like the Mackie Control Surface) when controlling to Pro Tools? That would mean SONAR / Cakewalk by BandLab gets the same respect as Pro Tools from a major hardware vendor.

SandlinJohn
Question on that bit: If NI hardware has a decent presence in big studios where Pro Tools is likely installed, wouldn't they need to support it? Or do they not have that presence in the big studios?

Studios needing to record - not just mix, but record - maybe 32 to 64 tracks at a time and charge a lot of money an hour might find a keyboard controller or audio interface that can handle 8 channels a bit limiting. The differences in terms of hardware required by small “home” or “project” studios and the large “studio for hire/record company owned” studios is enormous.

Large studios are likely to be using desks made by companies like Harrison, Neve or SSL, or maybe control systems built up out of Avid’s Pro Tools S range. At costs of many thousands of pounds/dollars - maybe like this example - https://www.studiocare.co...8elPdXLmcaAmHVEALw_wcB

To quote Johnnie Cochran "If the DAW fits, you must use it".
 
WTH does it matter if the whole industry embraces CbB? There are many users here who use it (or SPLAT) to make a living. They too are, albeit a small, part of "the industry".
 

Anderton

57Gregy
I don't expect the major studios to trash their current set-ups and use CbB, though, but they certainly could try it out.
All they have to do is get over the 'it's not Pro-Tools' mindset. 

And to be fair, their "Apple is God" mindset - which is ironic, given that many people feel Apple has purposely devalued intellectual property so they could sell more hardware.
 
Note that Komplete Kontrol doesn't do full support with Pro Tools, only Cubase/Nuendo, Logic/GarageBand, and Live (of course, most of it works in Sonar, Studio One, Samplitude, etc.). NI is a savvy company that makes more money than most, if not all, DAW companies. Yet they didn't bet on Pro Tools.
 
Logic and Studio One have done more than just chip away at Pro Tools, whose stronghold has traditionally been on the Mac.
 
It's all very up in the air right now. It's uncertain whether Apple's desktops are going to be as fabulous as they claim, which also assumes Microsoft doesn't have some surprise Surfaces up its sleeve. Surface Studio was a wakeup call. If Microsoft gets their hardware act together and doesn't get overly distracted with being a cloud services company, CbB will be in the right place at the right time for Windows users if Noel keeps making the kind of tweaks he's making.
 
 

 The thing is most hardware lasts a long time and past its usefulness. I could get all of my parts out of the closet and run a socket A system and W2000.  There was a guy in the industry who made a video "Why Apple Sucks", and there are studios still running Mac desktops where you can still change the parts in them.
 
 When something like this comes out it creates DIS (Daw Insecurity Syndrome).  Some get really butthurt because their DAW is not mentioned.  One again we see some users who want to change the name of Cakewalk.  It's worse on the Image Line forum.  (one of those DAWs that have never been bought out).  Most of its users aren't going to fork out $3K for a Montage.  Some of the reviews I've read for the Montage refer to using it for live performance instead of hooking it up to a DAW.  Maybe this is Yamaha's attempt to sell more licenses of Cubase.  Consider that Cubase is losing some ground to other DAWs with better upgrade/update policies.
 
 There's plenty of people out there being successful with "inferior" DAWs and don't let something like this bother them.
 
 
 
 
 
 
 

tlw
Studios needing to record - not just mix, but record - maybe 32 to 64 tracks at a time and charge a lot of money an hour might find a keyboard controller or audio interface that can handle 8 channels a bit limiting. The differences in terms of hardware required by small “home” or “project” studios and the large “studio for hire/record company owned” studios is enormous.

Large studios are likely to be using desks made by companies like Harrison, Neve or SSL, or maybe control systems built up out of Avid’s Pro Tools S range. At costs of many thousands of pounds/dollars - maybe like this example - https://www.studiocare.co...8elPdXLmcaAmHVEALw_wcB

I wasn't thinking they'd be using the Komplete Kontrol to manage the mix. I was thinking the Artist would be playing a VST and managing their performance with the controls knobs, sliders and buttons/pads of the KK. Imagine a keyboardist asking the Audio Engineer to play the Wah-Wah and Modulation (and other) controls while the artist plays their track. A Komplete Kontrol has as much business in a Big Studio as any music instrument.