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https://store.epicgames.com/en-US/bundles/bioshock-the-collection *Windows only Bioshock Remastered also includes: Museum of Orphaned Concepts - Take a tour through BioShock's beginnings across multiple exhibits in this virtual museum, from early concept art to full in-game models. Challenge Rooms - Test your combat skills and puzzle-solving prowess with this noncanonical series of trials. Director's Commentary: Imagining BioShock - Discover new collectibles to unlock episodic videos featuring insights from Creative Director Ken Levine and Lead Animator Shawn Robertson. Bioshock 2 Remastered also includes: Minerva's Den - Uncover the mysteries of Rapture Central Computing, where an omniscient machine called The Thinker has fallen into the wrong hands. Protector Trials - Choose specialized loadouts and see how long you can keep your Little Sister safe from waves of frenzied attackers in these combat-centric gauntlets. Bioshock Infinite: Complete Edition also includes: BioShock Infinite: Burial at Sea Episodes 1 & 2 - Explore Rapture just before its calamitous downfall in this two-part campaign. Clash in the Clouds - Prove your mastery of BioShock Infinite's combat across 4 brand-new environments and complete challenges to unlock bonus content.

Run the SAA and select "Not installed" to download!

Modo Bass 2 CS showed up as a free product this morning. Run the IK PM to install!

Just thought I’d chime in on this thread as I did the comparison video posted above. Its the same IR throughout (and the labels are correct). The tones may not be to everyone’s taste but they will never please everyone, so that’s fine. The point was really to show that Audio Assault and FM-3 behave very similarly. I was surprised that Amplitube was quite different - not bad necessarily, but surprising that it’s so dull at basically any settings which isn’t really representative of the real amp, or other emulations. I honestly can’t understand CCLarry’s comments at all - Amplitube sounds bandpassed and flat compared to the other 2 to my ear. Surprisingly, I tried some other amplitube models that always felt a bit dark to me and every time when I changed the FM-3 to a resistive load, it got closer to Amplitubes sound. V5 should have improved on these impedance interaction behaviours but it still sounds to me like they may have been modelled with a strange load attached. Some people may enjoy the duller and softer sound it gives, but I only tend to use 4x12’s with my amps so I usually like the response they give when being driven by an amp. Anyway, thanks for checking the video out guys and I hope it was useful to you. There’s lots of great guitar gear available these days and lots of it is very inexpensive, we’re totally spoiled. I still love real amps and cabs most, but I’m honestly staggered how closely most emulations these days can match my amps (check my other videos if you’d like proof of that).

Well if you are not going to answer the question, you're on your own. Good luck with an attitude like that.

Peter said this on the VI-Control thread: As an additional incentive, not only will the current Syntronik 2 MAX multis be unlocked for all participants once the group buy reaches 3,000+ participants but we just added over 100 NEW Syntronik 2 MAX multis which will also be unlocked at 3,000+ participants. So no need to worry about sourcing the older multis if we reach the goal. They will be included.

Popular SE titles for only $/€39.99 https://www.ikmultimedia.com/news/?id=MemorialDaySoftwareSavings22

Just run SynthMaster 2 and you will be prompted for the update. Unfortunately, no details are available (at this time). Kind regards, tecknot

Milo's ! Chuckit ! Kick Fetch showed up at my door at 8 AM . I took him and his new toy to the park and turned them both loose . I got to laugh , he ran me into the dirt while I was trying to record him using my phone .. Kenny

Can't believe this is free. I played the original Bioshock 1 and 2 when they were released and those are pure gold. Wish it would be MacOS compatible.

Yuppers! Downloading and installing now. Gonna have fun, fun, fun 'til her daddy takes the [NR] T-bird away.

We're currently at 44 to 28 free products. Luckily the last days have been better and at this rate we're very close to reaching 3000. Hopefully it speeds up at the end though.

POSTMODERN ELECTRONIC FUNK is more like it, as this is what they thought modern futuristic music sounded like in 1982. Cool sound though very Break Dance era vibes. Very Kraft Werk, Egyptian Lover, Soul Sonic Force kinda stuff. 👍

Analog Obsession has updated the free plugin KABIN (Universal Guitar Cabinet Modeler) to v2.0.0 v2.0.0 updates DSP improvements Reduced CPU usage Redesigned GUI Retina/HiDPI Added Readout Feature for knobs Available Formats VST/VST3/AU | Mac 10.9 - 11.X VST/VST3 | Windows 7 - 8 - 10 - 11 https://www.patreon.com/posts/kabin-43454405

$12.46 at JRR with code FORUM https://www.jrrshop.com/psp-hertzrider

https://forum.bfddrums.com/t/bfd3-4-4-29-release-notes/3004 You go first. No you go first. Snark aside, they appear to have addressed the authorization fiasco from the relaunch. 🤞

For 10 smacakroos you *can* have both 🙂

I agree that, on the first pass, Amplitube sounds a bit flat, and the second pass, but after the "curve" change on the FM-3, and if you say the "Labels" in the video are correct, Amplitube sounds better then any of them, and that is why I said they "sound different in different places", which they should NOT, so IMO, based on after the "Curve" change, Ampitube sounds better. To ME....the FM-3 sounds REALLY FLAT AND LIFELESS in ALL instances. and the TC-100 sounds way to fuzzy and treble-y, which obviously can be fixed, and again, that's ME. To ME, Amplitube sounds more "mix ready" and less harsh...YMMV Now, when you consider the PRICE difference, I'd opt for the TC-100...

13 away from 28

Agreed. Hint, there is another one and it's pretty dang good too.

One thing the IKM installer does NOT do is create a shortcut for the standalone version. You have to go to the Modo Bass 2 folder, right-click on the .EXE and select Create Shortcut. Windows will place it on the desktop (where I want it anyway).

I was like ...36 € for the tapes , lets use my 25 vaucher but now it s 75 cap lol ...easy gas stopper ...

Time spent learning AutoHotkey can save a lot of time and keystrokes in the long run.

I don't believe so. Not all functions are exposed for (re)mapping. That said, AutoHotkey or something similar is a skill worth picking up. For example, here is the AutoHotkey script that maps the (currently unbound) F2 function key to CTRL+i in CbB (and only CbB) When CbB has focus, press the F2 key and CbB receives CTRL+i.

Keep posting those sweet free games, Abe!

Well it's there now actually.

The short answer is No. There is no way to alter the default track to either preload PC settings or swap it for a track template in CbB. I created a shortcut using AutoHotkey to load a specific track template, in this example, a template for guitar. The script, bound Windows+Space, opens the template import dialog then navigates to my custom template folder then loads the guitar track template.

If that is correct, and if it works (the latter a big assumption), I stand corrected. But why do I need to do anything every 90 days? It’s ridiculous. I don’t use the current version of Cakewalk, but neither Studio One, nor any other plug-in I use has this periodic re-licensing requirement. Love BFD3, but will stay on the pre-migration version and not give InMusic one more penny as long as they stick with this licensing method.

PluginGuru takes Crystalline for a test drive in this livestream (video is cued to the topic at 28:33):

For the price of one month's subscription fee, you can try out Falcon and everything else that UVI makes. I wish all companies offered something like this as an option. Wouldn't it be great to be able to try out a Spitfire library before buying it?

It would be nice if they made this for some people. A reset button would be helpful too. Did i just say that?

You'll own nothing, and you'll be happy --Klaus Schwab

Don't worry about what it sounds like on a youtube video, have them on your PC, set up and rarin' to go. Face to face, in person as it were is the only way. After you've done that, leave them alone, and try just one the next day, and give it a good work out, then the next day try the other and give it a good work out. It matters not in the end, we all like what we like, it is what it is.

The last 24 hours (2:30PM to 2:30PM EST) brought 116 new buy-ins. We need about 84 per day for every remaining day to hit 3000. Not sure if that's comforting data or not. It's good that the current pace is above the needed pace, but it needs to sustain to hit the mark. Hopefully for a good chunk of last minute "oh why not?" buy-ins the last few days.

I just found a 2019 post from @msmcleod loading an acoustic guitar body IR into TH3. He loaded 2 IR's in and still had to crank up the TH3 output. I'll give that a try also. ms

And mine with the Axe I/O

Standard edition is $30. UDS Edition is $60.

Wish they would do their one off sales on Kontakt Player stuff again. Those went as low as 75% off at $30 and less.

You must check the box in the KH installer "Show preview versions" to see this update.

.....and emil has left the building.....

If there were a reaction stronger than "Great" idea, I would have used it. "Excellent Idea." How to delete a marker was something that baffled me, and that I had to Google. John is absolutely correct about the "mid-click" modifier key being non-standard Windows, and given how Windows-compliant most of Cakewalk strives to be, rather odd, and it sure feels weird. I tried all of the standard modifiers before giving up and Googling. Alt+right click or something might be good, but just having it in the context menu would be a step in the right direction.

No, I don't think I want to start Larry on this! 🤐

for Kontakt (full version). https://rastsound.com/downloads/chinese-hulusi-flute/

Just my opinion, if anyone has Syntronik 2 CS, SE, or Full, but hasn't gotten into the SYN2GB yet, and wants the Multis, they should help make sure it reaches the top tier. As I have noted before, the 30 Multis in Syntronik 2 Full reference Presets and Instruments that are not included in the non-MAX version. Now that I have the 11 new instrument packs installed from the SYN2GB, the Multis do load and don't crash Syntronik 2. To be clear: I just spot-checked the Multis that came with Syntronik 2 Full and (1) they do reference the new instruments and (2) they do work now that I have the 11 new instruments installed. UPDATE BASED ON A PRIOR POST (see the 5/9/2022 below): Since I tend to triple- and quadruple-check things, I just took the 11 new instruments and temporarily moved then to a "Pulled" folder. This effectively verified that SYN2 Multis that came with my purchase of a bundle with Syntronik 2 Full (1) reference Instruments not in the non-MAX version and (2) crashed Syntronik 2 Full on my PC. So, getting the 11 new Instruments solves this problem!!! Again, if you like Syntronik 2 and you want to use the new Multis, but you haven't bought into the SYN2GB yet, you might be very pleased at what you can get for $50 or $35 + $15 in Jam Points, even with the installation issues, the filter bugs, the amount of GBs, etc.

Great uplifting song --- lyrics and music. Mix sounds good to me and the video is impressive. I agree with John above - good transitions between "heavy and mellow." Oh ya, I like the quick ending also.

Nice. Cheaper than my upgrade through Waves and I own some nx stuff. I was waiting for this and at twelvefiddy a 'studio', I'm in. I'm hoping they branch out to Atmos with the headtracker, which is the true worth of nx IMHO. I've done 5.1 work on planes with it, quick recalls without having to setup my 5.1 rig (very helpful when my Avocets were having their convertors upgraded), etc.

This is one of those pop songs I actually enjoyed, this cover works.

Running stuff on the master *can* work but it's like a hammer approach to fixing problems. If you cut the subs and mud on the master, sure - it can clean things up, but are you getting rid of stuff you actually want to keep by doing that? As an example, general synths, guitars, vocals, most toms, snares, cymbals, and things like that don't really have anything useful in the bass area at all. That's not to say there isn't stuff there, but cleaning up all of the frequencies out of the track that's generally inaudible in the context of a mix will dramatically help the mix clarity. One track with rogue low end won't be a problem so much, but 10 most definitely will - it's all additive and combines into a lot of low frequency energy. On the other hand, just cutting the lows at the master will also cut the lows on the kick drums, sub hits and some bass stuff you may want to keep. Sure, it'll absolutely clean the mix up, but you sacrifice that punch you want to get from the instruments that actually live in that area. Try your best to work on stuff at the track level first. Strap an EQ over every track if you must, but it's kind of like carving a statue: the statue is finished when you carve away everything that's NOT the statue. The same goes for a track with EQ. By the time you do that, and THAT gets to the master, if you still have a problem, you can do specific fixes to the problem tracks rather than hitting the entire thing with a hammer and hoping for the best. The other thing is too, if you're compressing the master, any untamed low end in tracks will really cause big problems for you at this stage. Bass frequencies have a lot more energy than higher frequencies and will cause your compressor/limiter to pump much more, even if you can't actually hear the frequencies - they're still there. Get them right at the source. I do a lot of mastering work for clients and I can say that "unbaking the cake" when it comes to fixing problem frequencies is 100x harder than if I had access to the tracks themselves to make changes. I'll even request changes to a mix if it's something that I know will cause problems getting a great master in some cases. But in answer to the "both?" question, try to get it sounding good at the track level first, but there's also nothing wrong with using bus effects for a bit of sweetening. Once you have everything slotted in and working well together and you think "you know, this sounds a little dull", putting an EQ on the master and bumping up the highs is absolutely fine. But leave that for tweaks at the end rather than a first-call. Every sound is different, so it's hard to say. Some may benefit from a little hair on it, others sound amazing slammed with more distortion. The popular way of doing bass guitar for a lot of rock and metal is taking a DI of the bass and rolling off everything from the lower mids upwards, so you're just getting a big round and fat low end. Then taking a clone of the original bass track and rolling off all of the bass frequencies and running that into an amp to get growl. Then mixing both of those together to taste, then compressing that at the end to even it all out. If you DI all of the bass it can sound a little dull and boring. If you run all of the bass into a cranked amp, it can turn to mud as the low end distorts, so this is kind of taking the best parts of both sounds and putting them together. Scroll to about 2:37 on THIS clip of my band and check out the bass sound. This is using this exact technique and to me that doesn't sound distorted at all, but it's actually got HEAPS of distortion and compression on it. Obviously a synth bass sound will be different, but you can use the same technique to add hair to that too. (Stick around for some classic "I have stomach cramps" guitar faces in the clip. HAHA!) Actually, that song is probably a good example for what I was saying about track EQ rather than master EQ. When you have music that's going as fast as this, every bit of clarity counts. But what makes it even more tricky is there's sub hits in places, the kicks have extended low end (and are going a million miles an hour) and the bass is quite fat as well. Just putting EQ on the master would take all of the impact out of the kicks and sub hits, and not taming them at all would be utter chaos. (If that song is a bit too in-your-face to get a good idea, check out THIS one from about 2:10 - it's exactly the same bass sound but used in a more mellow song)

OK, when you play back your mix and the reference mix, have a look at this part of your real time analyser in the plugin: The green area is the subsonics. For 90% of your instruments, you'll want to roll off the low end of your EQ to much higher than this so this part entirely goes away - you'll be surprised at how far up you can high-pass this stuff without it affecting the sound of a track. A lot of synth patches have rumble in there that you're not really hearing at all, but it feels nice when it's cranked on loud speakers when it's in isolation. But in a mix, this is just chewing up energy and making everything feel cloudy for no good reason. Kicks sound great here, some sub drops and basses too, but nothing else. The red area is your main bass area. This is likely where things are clashing the most for you. See what a commercial mix is doing here - if your mix is really peaking much louder in this area than a commercial mix, you need to find out what track is either too loud, or needs EQ work to tame the frequencies a little (or if you like how it sounds as-is, then start fiddling with sidechaining or dynamic EQ/multiband compression). If you're not playing stuff loud or your speakers don't have a good extended low-end, you just can't hear this stuff properly. It's there, but it's hard to tell how much it's there. This is where you'll want to try doing the instrument muting like I mentioned earlier, to see which track is the problem one. The blue area is your mud. If there's too much build up here, your mix will sound woofy and bad, even on 6" speakers. EQ will definitely help this area a lot. (Be careful, take too much away and the mix loses power and can sound a bit hollow) Be careful if you have things strapped over your MASTER though. It's a good idea to bypass any master effects while you sort this stuff out because while you may be adjusting something at the track level, those effects may actually be moving the goalposts on you (eg: you have a multiband compressor on the master that's changing the balance of the sounds hitting it, so any EQ you're doing is getting modified so you can't really tell what the changes you're making at the track level are doing) Both @John Vere and @batsbrew also gave great ideas when it came to making a bass sound be more aggressive, albeit with entirely different techniques to get to the same goal. Sometimes it's good to have your original sound and then duplicate it, then mix that duplicated track through some kind of mid-range heavy distortion, then blend it in with the original sound. You still have all of the warmth and character of the original sound you like, but you also get a great consistent and aggressive tone from the distortion too, and you kind of don't even notice the bass has distortion on it, only that it sounds more up-front, and more consistent. So after you get your frequencies worked out, that's a great tip for pushing the idea even more. That all said, if you've done all of that and you're still not getting the results you need, that's when you need to get stuck into more of the advanced techniques that was just mentioned above. If you're really determined to have a lot of stuff going on in the bass area (which does sound great) then it takes a bit of trickery to get it all to work together when it's all competing for the same frequency space.

Not much action? I would first see if the RME's drivers were up to date.