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Don't know if this has been posted before. If so, then so. As this is an amazing 1GB+ freebie yee all should get. https://www.pianobook.co.uk/library/nfo-orchestral-swells/

This was recently on sale for $50 - $15 in Jam Points = $35

Unless you keep coming back to King Lars' adobe. 🙂

Used?

These are just swell! I'll get me coat!

Yep. I picked it up for $35 and used it in a mix almost immediately in place of Waves Abbey Road Chambers that wasn't quite doing what I wanted on the vocals. I think it will become a firm favourite.

At least it was not your wife ending there.

I am still recovering from a wonderful birthday this past weekend and wanted to try and catch up on the latest happenings. The replay is live and turned out to be the longest livestream yet! So many amazing discoveries. Thanks for all of the kind support, I really appreciate it.

Gotcha; I was thinking product codes, not discount. Got any codes for advancing my reading comprehension?

Which is why I get the box

Yes. SONAR Platinum (at least the producer edition for sure) came with some third party pluygins, rapture and Dimension Pro, which are not available in Cakewalk By Bandlab. That said, if you have installed Platinum already, you'll still have access to these installed on your computer, in Cakewalk. yay!

Got this recently and have been really enjoying it.

not a cartoon but a modern "meme"

I would discourage taking this viewpoint. The company to which @David Baay submitted that bug report hasn't even existed for the past 3 1/2 years. In that time, the entire staff was laid off, then some of the engineers got re-hired by a new company to continue development of a new product based on the SONAR code. Since then, new development staff has even been added directly from the Cakewalk user base. So a new organization, with visibly different priorities. Even if to us, who are using a program that looks pretty much like the old one, it's the same user experience continued. Something that was tabled as low priority in the Gibson years might be a bigger deal in these better days of BandLab, so take a few minutes and submit it. Worst that can happen is nothing. I understand the frustration of going to the trouble of submitting a good report and having it seemingly shrugged off. Believe me I do. But things are different now, and the current dev team seem to take a lot of pride in the number of longtime bugs they've fixed. They'd probably like to fix some more. Even if the old bug database survived the transition intact, there can be an assumption that if an issue has been sitting there for 5 years, it's probably not ruining everyone's day. So a ping about these old things might be in order.

Hi Guyz here's the first video of one series of UAD based videos . I go versus style on those 2 preamps for us to appreciate the subtilities and sonic differences as well as the best suitable scenarios to use those ! 00:00:00 Intro + Plugin Tour 00:01:47 Analysis : Frequency response / Filter 00:03:53 Session presentation (don't skip ;)) 00:07:05 Versus : On a 808 BEAT 00:18:46 Versus : On SNARE 00:29:08 Versus : On BASS Synth 00:31:19 Conclusion Part 1 (thoughts) 00:34:45 Dry Wet Operation in Studio One 00:36:00 Requests , CPU and Conclusion Thks for watching !!!

I have compared Sweetwater, Musiciansfriends, Native Instruments Download and Time and Space with Fedex delivery shipping and Time and Space was the cheapest out of all of them. I mean, I get a Hard Drive and NI KU13 cheaper than all of the other places and it's being shipped to me in the U.S.

Gonna watch this one when I get home.

I'm surprised that you bothered to take it off......😀

Posted May 24 NFO: Orchestral Swells – Pianobook https://www.pianobook.co.uk/library/nfo-orchestral-swells/ Dan Keen has put up a free orchestra sample library at Pianobook for Kontakt and Decent Sampler. Featuring the Northern Film Orchestra. 1GB in size (Kontakt is K5). Check the video in the link.

Decent Sampler compatible too! Will check it out.

$59.99 US from IK Multimedia. ($41.99 after 30% jam point discount.) https://www.ikmultimedia.com/products/satriani/

Impossible. You lie!! Buy now..!!! :0)

I've got 11to 13 (just ordered 13) in boxes. And 10 on a humongous amount of DVDs they used to come in !

Get it here https://www.ghosthack.de/free_sample_packs/unique-drum-collection/

+1 Scheduled to arrive tomorrow.

This is likely a big factor in this case - not enough reports to make it a priority. I had forgotten about it myself because I only stumbled on it the one time. It just sounded familiar enough that I looked back through my old bug reports to find it.

Sounds like this is still a mess. Too bad as its one of the best sounding, luckily it's not irreplaceable. Hope they sort it out. I'll wait a while to see how things develop before trying to update. They still need fix those old bugs & crashing issues plus an update on that gui.

If you have BFD Eco, I’d still take a flyer on BFD3 with the understanding that you might not get it working properly for a year. I like the sounds that much. BTW, while InMusic does not support the now orphaned BFD Eco…installing their program does not wipe BFD Eco off your system…at least for now. One of my major peeves is with software companies that with “updates” wipe off other separately licensed programs ( are you listening Celemony?).

JRR is $125.16 in cart and using code GROUP. IIRC that was as cheap as it got last time round, but who knows? We live in the brave new world now. Wait a minute............I'm doing Larry's work for him here......I hope he's gonna pay me.😀

They sent me a photo of the serial number from the box today. It worked! Just wanted to pass on the great customer support from T+S. You can always buy with confidence from them.

Ecclesiastes 1:9 "What has been will be again, what has been done will be done again; there is nothing new under the sun." The Buggles "There's no technology to make up a song." When I was born in 1961, the musical entertainment industry was ruled by singers who were told by their handlers what to record and perform, these "A&R men" as they were called at the time controlled every aspect, hiring the musicians, choosing the studio, choosing the songs, hiring the arranger(s). There was no assumed correlation between being a great singer/performer and songwriting or even musical ability beyond voice. If the performers managed to become successful enough to exert leverage, they could negotiate choosing their own repertoire Frank Sinatra and Judy Garland and Elvis Presley had supreme mastery of one instrument, which was voice. All of them could sit down at a piano and make it work, but virtuosos none. Sinatra and Garland never (to my knowledge) wrote a note. They hired the people who were the best at it. Presley has songwriting credits, but his manager was famous for buying songs outright and including the clause that the writers would give all credit to Presley, so who knows how much he actually came up with. Nobody gave a crap about where the particular input came from, good singing was good singing and the writing and arranging and playing was good and it didn't have to all be the same person doing it. My favorite pair-up from this era is probably Sinatra and Gordon Jenkins with all the great songs on September of My Years. I'm oversimplifying the evolution and leaving out but when the massive boom of teenaged kids came along, they got interested in music that "spoke" to the experience of being a teenager, with the usual feelings of confusion, anger, rebellion, and aimlessness. Jazz, Blues, and their descendant, Rock then came to the forefront and elbowed everything else out, became "the music industry." The kids wanted to see young-looking people who wrote songs and played instruments. Bob Dylan, who wrote lyrics vague enough that you could make them take on a meaning personal to the listener. The Beatles, who started out being very direct, then started listening to Dylan and adopted his lyric sense. All this started to be considered "authenticity," and artists who happened not to also be songwriters were considered somehow less authentic. There were plenty of artists in this rock era who still operated in the earlier fashion, but they've been relegated in music history (see Three Dog Night). The discussion we're into now is shot through with our (I have them, too) ingrained prejudices about "authenticity." The thing is, as Pink Floyd pointed out " It's alright we told you what to dream. You dreamed of a big star. He played a mean guitar...." The image and presentation of these rebellious rock heroes was just as crafted as that of the artists who preceded them, maybe more so because "authenticity" is more difficult to fabricate and maintain. Brian Epstein took the leather-jacketed rockabilly ***** Beatles and gave them the ***** eye for the straight guy makeover, early 60's London style. Cute moptop haircuts, tailored collarless suits. 50-odd years later, my favorite pair of shoes is my Chelsea boots, the style that Epstein customized to turn into the famous Beatle Boot. Their iconic drummer, who has probably inspired millions to take up the instrument (including me) was replaced on their first couple big label sessions. (NOT by Bernard Purdie) Dua Lipa's job is to be the best singer and dancer she can be, and presumably to be smart about hiring the other talent (or she's hired a smart person who can do that). It's not her job to write lyrics and music or learn how operate any part of the studio other than the mic. More power to her if she does. The songwriting credits is because musician/producer/songwriter A has a cool set of changes, m/p/s B comes up with an awesome breakdown (I have two songs right now that have been waiting for months for my 60-year-old brain to come up with breakdowns), m/p/s C has a great suggestion for a bridge, the lyrics may have multiple authors, etc. Also, songwriter credits are often given out as pure compensation these days (which is not new either) because there's no other mechanism for people in certain critical roles to get paid. It's like actors and crew taking "points" on a film in lieu of cash payment. It also helps them get work with other artists. So if you're capping on multiple people getting songwriter credits, you might be capping on hardworking/talented people getting compensated. The thing is, it's hard work to make money in music these days, and it takes a lot of people to put together a package that the masses are going to like. In the past, the multiple people involved in recordings got onetime payouts as "work for hire." Session players who had more musical chops than the artists they were backing would come up with hooks and melodies during the sessions that made the songs (see Carole Kaye on "California Girls"), pick up their check for a few hundy and be pleased when they heard themselves on million-selling singles. Clare Torry improvised for the length of a song over a set of chord changes on Dark Side of the Moon and got paid 30 pounds. There is no "The Great Gig in the Sky" without her performance. She had to fight for a writing credit and royalties, and only got it 30 years later. (interesting story: she did her thing, the band and Parsons were awed into near silence, and she figured that their lack of spoken approval meant that she had botched the gig) One more thing: about whatever good old days we may be comparing today's pop music to, our brains tend to filter out things that we didn't like from the past because, hey why hang on to "Havin' My Baby," "You Light Up My Life," and "Muskrat Love?" But those hits from my childhood sold way way way more than anything put out by Thin Lizzy, Cheap Trick, or Pink Floyd. They even beat Fleetwood Mac in terms of sales of a single. I've noticed a musical cognitive error of comparing today's mainstream to the underground of our youth. Sure, cognoscenti music from 50 years ago sounds better than bubblegum pop of today, but there was bubblegum pop 50 years ago that sucked just as bad. And there's plenty of great new music out there today for those who aren't too lazy to dig it up. 40 years ago I was putting effort into digging up great obscure cognoscenti music, ordering Japanese imports of stuff you couldn't get in the states, etc.. Singles? Nothing under 12" thanks. If I turn on some TV awards show and the wind-up doll singer-dancers look like a joke compared to my favorites from back then, well, TV awards shows have always been like that and likely always will. Now, I can go on Bandcamp and be overwhelmed by the amount of great music currently being produced. South American Acid Cumbia, anyone? There's too much of it for me to take in! An overload of excellent, innovative, wildly creative music in so many genres.

No, not 3.5 I wrote that real quick and didn't realize it wasn't up to a point 5 yet!! I started to put BFD4!!!

Just coming back here one more time to apologize for kicking up a shit storm. I truly appreciate the community on this forum compared to other forums which shall remain nameless, and I am sorry that my contribution made it a little less civilized. I should have realized that trying to change anyone's opinion is a futile endeavor and that my comments would only lead to people getting pissed off at me. Life's too short to waste so much energy on something I really don't care a lot about.

To quote Fleer, Dronar is pretty, pretty good. I already had the full Ethera libraries so Ethera Lite was pretty much redundant.

Hey All, I just purchased from Time and Space and received the Komplete 13 ultimate upgrade from Komplete 12 . This was the lowest upgrade I could find that included shipping and Tax. I'll get it in a few days and so I can't be happier, Thanks LARRY for the information 🤠 Plus I received = 😁

They should have put an 11 on the dial... 🙂

Well, now that there are two threads, I'll most likely buy it twice.

On a related note. I really like this dev -- he seems like a really nice guy. But candidly, I wish so many small devs didn't decide to create their own VSTs and instead just made their sample libraries for existing samplers like KONTAKT, Sforzando and Decent Sampler. Why? A small dev creating their own VST means one more VST -- and often a poorly tested or even poorly coded VST -- that may have all sorts of conflicts and issues now or in the near future. It also means an additional learning curve. Whereas if these devs used a popular sample format like KONTAKT or SFZ, many users have already made an investment in money, time and support/maintenance of these samplers. I totally understand the reasons why small devs make their own VSTs, but it's truly not a user-centric decision and I am sorry to say that it is a big enough factor that causes me to not complete a purchase.

Practice.

Just ordered from T&S for the Komplete 13 upgrade. They contacted me right away. They currently don't have stock but are hoping to get it by the end of the week. They are going to send me my serial before they ship. I have had nothing but good experiences with T&S. They seem to go out of their way to serve their customers.

I saw an episode of the Netflix series "Song Exploder" (a show where they pick a recording and document its evolution from first concept to finished production). The artist in this episode was Dua Lipa (25-year-old multiple Grammy winner), and in the first ten minutes literally everyone they introduced was identified as "co-writer." Later we meet her choreographer and her "vocal producer," who coaches her through the recording of the final vocal track. There were at least five co-writers and an even larger ensemble of producers, helpers, advisers and so on. Maybe the kids don't need forums, because they have a floating in-person forum surrounding them through the entire process, with everyone making suggestions and sharing ideas more or less continuously. When I was starting to learn my craft, such as it is, there were some songwriting teams consisting of two people (Gamble and Huff, Lennon and McCartney), and of course I knew about the Tin Pan Alley writing teams of the 1930s. But pop songwriting seemed to me to be primarily a solitary occupation, one person alone in a room with a guitar or a piano. So I found this level of group participation a bit odd. I guess the younger generations are more generous with their songwriting credits, or maybe they see the craft as a more collaborative thing. Good for them. Their productions are amazing, although the songs themselves seem a little, shall we say, unfocused. Oh -- the computer screens in the background seemed to show they were using Pro Tools, a traditional DAW.

There is an assumption here that might not make sense to everyone's workflow... What if you're mixing in surround? What if you mix through a summing mixer, or mix in a hybrid system ? In these scenarios, there's no stereo master bus, only separate buses going out to several outputs. A master stereo track doesn't make sense if there's no master stereo mix to put on it. For example, I only started using a stereo master bus in SONAR about 4 - 5 years ago. Prior to that all of my tracks were routed to separate buses, each one being routed to a separate hardware input on my DS2416 cards. That way I could use the EQ / dynamics / effects of the DS2416, and effectively do the whole mix through the mixer built into the cards without using any plugins in SONAR. I've got a similar set up now, where I can route my bus outputs (or an aux track output) to my Alice 828 for analog summing (although to be fair, this is only something I do on occasion).

Space Truckin' -Deep Purple

Shane, check out Let it Be Naked if you have some free time. I find it to be very good. But like gswitz said, it is another version, but without the wall of sound. You can find all kinds of conflicting opinions from the Beatles themselves about the Specter Let it Be. Naked is "just" what it sounded like, in the room, at the time, of the recording. Now the beatles are an industry unto themselves, and "they" love to generate content to distribute for various reasons, one being profit. On Naked though, I do believe they demonstrated that they were one damn fine band.