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A feeble attempt, I know.

Personally I am tremendously disappointed in PA subscription "deals", as they just change the terms whenever it gets convenient (case in point, how forever29 changed from "any plugin in our store that is not PA_EXT" to "any plugin in the XL bundle"). And they changed the terms after the fact, without any previous announcement. Even after reaching out to support, their answer essentially is "that's the deal, some of the plugins newly added to the store are now excluded, because we say so now and regardless of what we said when you purchased it" Once they have shown that they cannot be trusted to keep their word, you can start extrapolating and it gets pretty ugly. Who's to say that in a few months they won't start, e.g., excluding premium plugins from what you can purchase with the subscription vouchers, or changing the expiration terms so that you have to use existing vouchers right away (or lose them completely if you read the message too late), or both at the same time, or... When they arbitrarily go back on a subscription deal, our only recourse is taking them to court, which is a lot of a hassle, and for a small claim like this, a court won't really force them to honor the deal, at best I'd expect to get a refund. PA, specifically, has done an awesome job of reinforcing the idea that I am better off with permanent licenses

Me and my dinosaur are in, folks. Thanks for the encouragement.

What I tend to do with Melodyne clips is copy the original track, archive it, then hide it. This means I can commit my Melodyne edits knowing I can always go back to the original if need be. I'll be honest though - I've never needed to.

I hate subscriptions, left Adobe years ago, cut my loses with Waves and don't use them nor am interested in them at all (as their fees are just another way of subscription)... But having said that, I think I'll go with PA 99$ / year subscription with this kind of logic: Have most stuff I need and some old plugins still sound great, so not that many great really new and useful plugins are needed to be had for me... they just bring another flavour to the table... and my skillet is sorted with the spices already. So, if I feel there are three (3) plugins I want to purchase at the time of taking and / or renewing the subscription, I will do that... each costs 33 $, that's an ok price for me. The bonus is, I get all the other stuff to demo properly on real projects for a year and all the possible new releases. If PA decides to restricts and limits the possibility to use some new stuff within the subscription, it's their loss... I wont renew, they lost any further money from me! Done. So paying up front for a year gives me 3 plugins for 99$ right away, everything else is a bonus, if at next renewal there isn't anything within my subscription that I'm interested to make at least the 3 plugins to be purchased further... I'm out. Learned the hard way... trust the offer what you have on the table, not the offer promised.... I don't trust anyone, they are all up for grabbing my money one way or the other. I govern to whom it goes. This hype and urgency of sales is funny and quite intimidating one's intellect... Sad world out there! Remember protection gals and guys! Love from Finlandia!

In all seriousness, would you konsider full kontakt karate?

And... talking about Arturia, this video popped up in my YouTube feed.

With these settings Without Auto Gain engaged Vintage Drive gave my mixes a average 3.6db boost. I found the effect of having the plugin in the master buss varied (in a blind test) from not discernable to a mild but pleasant gluing with better definition in drums. Low bass was starting to get a bit wooly which is not surprising with the plugin's settings causing the frequency response below. I didn't test it on a mix with a low sub-bass nor is my system (without subwoofers) capable of hitting those sub frequencies but could see where it might be an issue if your material did. Ending verdict for me... depends on material. On one mix I tried it on it would be a keeper, on the others not worth inserting.

I've had Kontakt since that sale they had when they joined the Soundwide thingy. I opened it once and thought REAPER in a smaller window and promptly closed it never to open it again, it nor any of the other stuff that came with Komplete 13 Standard. I've come this far being inKomplete, I'm sure I can make it to the end as is.

They are going to offer a new type of subscription every hour for 24 hours, then 48 hours later they will discontinue them all. 😁 Sorry, I can never stand subscribing for more than a week before I get fed up.

My vote goes to Arturia for being a top tier music software (and hardware) company. There's only a few of them up there, and I'll stick with them!

Kenny

Take advantage now that they are expensive before they give them away later at $5 in PB 😂

Made it official 😃

Before using Melodyne, I copy the original clip to another take lane (in the same track) and mute that original. After applying Melodyne to the duplicate, I can easily revert to the original clip at any time, and there is no extra track.

Got a new lappie, a MacBook Air M2 16GB/512GB as a swift little companion to go with the monstrous MacBook Pro M1Max 64GB/4TB as my main axe. And I’m planning on keeping them Kontakt free, at least the little one. Yep, you heard that right. I’ll fill it up with Falcon and its UVI banks, Arturia V Collection and Pigments, Melda MSoundFactory and friends, Spitfire BBCSO and Originals, Scaler, Toontrack, AAS, Bitwig, Omnisphere, Keyscape, Kilohearts, iZotope, Eventide, SugarBytes, XLN, Pianoteq, Organteq, Zynaptiq, PSP, Valhalla, Soundtoys, Softube, Relab, Unify and the lot, maybe even throw in some EastWest but no Kontakt, no. Love this feeling. Free at last.

What?!?! No FOFR? (fear of future regret)

He's the founder and Head of Brainworx and Plugin Alliance.

The $9.99 a month/$99 a year one, that includes access to all their plugins and three free plugins per year, is going up significantly in price. Much more so than the $29 Forever club, this one is one that people may regret not getting later. I haven't gotten it, but now that I'm thinking about it, it's hard to think of any downsides other than that it might be possible to get three plugins for less than $29 if you are very lucky and don't end up buying any that you don't really need (which seems inevitable). If Roland Cloud was priced like this, it'd be a no-brainer haha.

There was a time not that long ago where if I were asked what amp sim I thought was the best, I would have just TONEX without a doubt. It's not that my opinion on TONEX has waned or anything, I think it's just that my appreciation of other amp sims has grown significantly. What a time to be alive and be a guitarist, the stuff we have at our disposal is just mind blowing.

Calibration is key I might do a video because boy i seen some crazy stuff on yt lol Basically the settings are dynamic highy depend on lvls , understand it that a setting X at -9 is setting Y at -12 ....don't know if m clear ? AT 50 % Mix witch i suspect the HW to be

I don't want to hack the install. I just wish IK would improve the install process to make the content selectable. Much easier!

And spoil the fun of watching progress bars advance? No thank you! That's the best part.

Missing quite a bit - but there's very few I actually want. But the ones I do want would likely cost more than the $69.99 which makes this bundle price very appealing. But ya, I have an elaborate Excel sheet to keep track of plugins and instruments for the studio lol. This shit gets totally out of hand.

I'm a bit of a sucker for Abbey Road sounding instruments and effects when they go after anything that captures the sound from the Fab Four. Back when I was playing professionally, I really didn't spend much time playing Beatles covers. But as a hobbyist, and now that physically, I can't even play anything complex anymore, I love playing Beatles songs. 60s Abbey Road Drums, Waves Abbey Road plugins, M-Tron Pro, Orange Tree Samples Rick 12 String and Vintage Violin bass....Fleer, if you love that sound like me, there's a string library from Impact Soundworks that often goes on sale for around $29 or $39 USD that I just love. I can't recall it's name and I've never seen anyone post about it, but it really gets that kind of George Martin string sound and the sale price is a steal. EDIT: This is the library. The demos don't really convey what the library sounds like dry -- which I think is wonderful. https://impactsoundworks.com/product/rhapsody-orchestral-colors/

WHAT THEY DON'T HONOR 2021 COUPONS? It says valid to Dec 8th - but not which Dec 8th! ROTFL, jeez. I thought the Lite21 was a reference to $21 off (actually it would be $20 but close enough). Note to self - drink your coffee before you start posting... All that being said - there actually is a sale currently going on for Punish @$49

IMO, The Air plugins (for MPC Key-61) are pretty decent. Some of the instruments hold their own vs. a traditional keyboard workstation (Montage, Fantom, etc). They're not going to best the likes of Pianoteq, Keyscape, Omnisphere... and other top-tier VIs. I bought the Mini-D (for MPC Key-61). It's OK. Nothing more... nothing less If you compare it to something like a Moog Matriarch, it comes up very short. 😉 If you're composing with the MPC Key-61, it's useful in that environment.

Pics, or it never happened! 😂

I'd suggest you simply record your doubles on separate tracks. Then, correct each with Melodyne as needed. You can copy tracks and play games with Melodyne's pitch modulation...but but to me, nothing sounds as good as doubling with actual performances. There's something about the textural differences between two vocal tracks that can add up to one great track.

I would like to see a video on how to do this. I could probably figure it out bur is seems like a hassle.

SSL got back to me on the 3 for 2 sale... It would be one thing if their web site said that anywhere, but it doesn't. Here's text from their web site regarding the 3 for 2 offer: Cudos to SSL support for getting back to me, must be frustrating having to tell customers that they don't intend to live up to the terms specified on their web site. Any major business would honor such discrepancies. (According to Solid State Logic: Contact Details and Business Profile SSL's revenue is $25 million / at least 126 employees - so yes they are a major business) My shopping cart contained 4 fusion plugins and splashed across the top was the link 'Have you used your 3 for 2 offer?' I emptied most of my shopping cart and may opt to not buy any, I don't like giving my business to companies that don't honor their word.

Thanks for fast and indepth response Tim. It's a lot to take in and even though I've been using cakewalk since 2004 for comping ideas for songs, I've only started to try to lean mixing recently. So I'll try my best to wrap my head around what you've said, I'm sure I'll have tons of questions once I start applying what you've suggested. As for you light granade, I saw the thumbnail for that video, and have it saved in my YouTube play list to watch later. The thing about mix bus tv is sometimes he just talks and explains without showing clips of what he's talking about so I don't follow his videos so much, but I'll take a look at it. Thanks guys for your help.

Yep, turn down the tracks. I don't think I've ever done a mix where I've just left the faders at zero. Basically, you should set your input gain up to be fairly hot (somewhere between -12dB and -6dB preferably, but not passing 0dB ever) so it's delivering the right level signal into any effects on your track. How your compressors and saturation effects especially react to your track is tied directly to how loud the signal fed into them is, so get that right first rather than trying to mix from the input gain - use that only for prep. Then, after all of your effects are on, a good starting point is about -6dB volume for every track and then cut or boost as you see fit. Then, if you get it all sounding great and your master is peaking, and you don't feel like adjusting everything else (which I'd suggest you should do first so you're sending the right gain into the master bus) then just simply turn down the master. Things won't clip internally inside Cakewalk, so you can have things peaking out everywhere and it really doesn't matter if you're just summing tracks - so long as you don't clip the final output. This goes for any busses you're summing to as well, so if you have 12 guitar tracks going into a Guitar Bus, and that's not clipping, but then when you add that together to your Vocal Bus, your Drum Bus, your Keyboard Bus, etc. and it's clipping your master, turn the busses down. Of course, if there's effects involved and you have your levels too hot, you might end up with unwanted distortion or weird compression and that kind of stuff, so try to get the gain right first at the track level, then watch how loud you're going into your busses to avoid that issue. As I said, it's not the end of the world if you're too hot into your busses, so long as the final out isn't clipping, but if it's something crazy, you should really sort that out first.

Been on the same subscription for 3 years. They still renew it under the same legacy terms, despite the new subscriptions. Easy. Now own (or received for free) 71 of their plugins with the subscription vouchers, from $600 invested in subscription and one additional purchase of Soundwide bundle. So about $10 / plugin over 3 years. Those original subscriptions were fantastic, especially using those vouchers during megasales. It's really too bad they got rid of them.

Thanks Tom! Crashes sound fine here.

It's Las Vegas. That's what they do!

Obviously, I've worked with Orange Tree Samples and use their guitar and bass libraries in nearly every production for, but I also use pianos and string libraries in the KONTAKT format in nearly every production too. I have pianos in other formats, like ezKeys that I love, Addictive Keys (I find meh) and UVI (nice but I don't enjoy the UVI user experience), but 90% of projects, I'm largely using KONTAKT with a drum plugin, although sometimes I used KONTAKT drum libraries. So if I had to give up every non-effects plugin but one, I would easily choose KONTAKT. But to the point some have made, I've bought a bunch of synth libraries for KONTAKT and it takes up far too much data. I think I'm done doing that and will stick with synth VSTs.

^^ good idea This is what I did for ages on my old machine purely because it didn't have the resources to do everything in the one project. I'm a little more lazy now on simple projects since my current DAW has lots of power, but stuff with heaps of vocal layers, choirs, etc, I still use this method. Great to keep things clean, and a good backup strategy in case of a rare project corruption.

Judge for yourself... Here's Vintage Drive run through DMF's PluginDoctor

Read somewhere that Kontakt Player licensing got much cheaper last year or so. I guess that’s why we’re seeing more and more Kontakt Player freebies like Heavyocity’s Foundation series.

Okay, thanks for coming with me on this new tangent. When my daughter was in elementary she used to take forever to eat her breakfast before school. And I'm kind of an unconventional guy with a big sense of humor. So take this with that understanding. So to get her to move faster I put on Metallica while she ate. She hated it, so she ate faster, but complained. I was using an FBI technique. I'm not a Metallica fan, BTW, it was just my sense of humor. So years later, last month, her and I are in the car and "Master of Puppets" comes on and I politely go to change the station, she says, "Nooooo!!! I love this song!!!! It reminds me of Eddie!" It was surreal. All of those techniques, I was pretty sure she would hate Metallica for life. Nope! At least it's rock, so I love that she loves a rock song. Although my kids don't like Zeppelin! I'm an old rocker. That was my genre. Although I am the son of a classical pianist and also love Chopin, Mozart, Bach, Beethoven. Rachmaninoff... Back in the day (the mid 90s )Jimmy Chamberlain (Smashing Pumpkins) stated I was one of his favorite rock drummers -- in front of witnesses!!!! And now I have two kids who barely even like rock music except for my daughter liking that song (and mellow stuff like Coldplay, which I love too).

Technically, that second one would be a host, not a plugin.

Another perspective to consider, which has been alluded to above, is this: if a plugin has been scripted properly, any DAW supporting that format should be able to use it (where they tested it is sort of moot). I can recall countless times that Noel has gotten involved with plugin issues. He will also reach out to developers directly to resolve them. That "feature" of CbB (the bakers and their participation here) is highly underrated.

not compulsory but every time i eq then comp i at least review what comes out there (depends what style you're going for of course) but, eq then comp i think is the last two in the chain, usually.. the first eq/comp gives you something (tidying up the recording) but you may need to do them again depending what comes out of the first processing so don't be afraid to pile those processors on until you get the sound you're looking for /have fun

Yep if you haven't bought a lot from IK previously, but qualified for the maxgrade, this is a great deal.

This. I easily spent over a thousand for what I could get with this package.

Holy moly! The ability to turn on or off all instances of a plugin is huge, especially when using channel strips across multiple tracks. Quick group delete all instances is also much appreciated. This is a great update. Thanks to the Bakers!

It's not surprising that smaller plugin vendors don't have the resources to test every version of every DAW out there. Note that when they do include one, they specify the exact version they support. Cubase 10? Sorry, we don't support it, even though the idea that any VST might be incompatible with any Steinberg product is silly. Looking at iZotope's list for RX, I see a lot of DAWs that aren't included. Samplitude, Tracktion, Bitwig, Audacity, Ardour, Mixcraft, ACID Pro, Digital Performer, MuLab, GarageBand and many others. Too many for any company to properly test on a frequent basis. Also note that they never make any mention of hardware console compatibility. The list, I think, is just there to reassure novice buyers who might not understand that the whole idea of a standard interface is to assure universal compatibility.

very nice, enjoyed it! great work on the vocal parts! Like the organ!