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sarine

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  1. No, but what I know is that on my computer nearly every iZotope plugin is a lagfest and generally speaking I don't think UI design is where their talent manifests, and UI programming certainly isn't where their effort is directed. But I have used their mixing & mastering tools so little that my opinion would not be interesting in that regard. I get the impression that those are their main products anyway, so I'd expect more effort on that front. What I like about Metric AB is that with regard to UI layout and performance it's the exact opposite; extremely slick, responsive, effortless, and light. It's fun to use, unlike the horrors I've experienced with iZotope's stuff. I'm not against iZotope in particular and still use some of their plugins for the shortcuts or sound they provide, but at some point I kind of woke up to the fact that I dislike the actual act of using them, and only endure it because I know when I'm done tuning them I can shove them to the background and forget about them.
  2. This is the only PA plugin that I haven't put up for sale. ADPTR Audio - Metric A|B - Mixing With Mike Plugin of the Week
  3. Yee-haw, I've been looking for harpsichord sounds. I don't find the demos spectacular... The piano one is too reverbey and disconnected. It's obvious from the sound that it doesn't resonate as a uniform instrument, but I believe it could be realtime-processed to glue together better. The demo also leaves me guessing about the dynamics and how well their expressiveness scales considering the "aural incoherence". The harpsichord sounds fine, although I've not been a fan of the English variety (Italian or French for me depending on mood, composer, or keyboardist). The disconnect is still there but it's not as disturbing due to the harpsichord's vastly more limited dynamics, which makes it easier to capture the sound. However the velocity still affects the sound on harpsichords but in a different way, and tends to depend on the build and vary according to string length. I'm glad they put some effort in capturing the key release, because for me that's an idiosyncratic part of the harpsichord sound and far too often neglected, or worse yet treated as unwanted noise and post-processed away or omitted altogether (especially the reason many synthetic harpsichord sounds are bad at harpsichords). Overall I think these packs might be useful despite the shortcomings, i.e. something I'd actually use more than once because they can sound good if you respect what they are, use them for what they can do, and give them the help they need.
  4. What is that, a functional sociopath? So is Brainworx like the opposite of no-brainer? I'm such a sane person that I didn't subscribe. So this, was not for me. Empirically proven antidote for Brainworx. More bad puns in the next PA thread, coming to a deals-of-a-lifetime forum near you, this lifetime.
  5. What does Nuendo bring, other than surround sound?
  6. Oh yes, I forgot it came with a singular installer, instead of one of those installation managers which take the liberty of rolling back away from you. Forgetting of which is kind of a feat after going through the install procedure of the sample content IK-style... Thanks for the affirmation, I'll give it a go.
  7. So does it actually work now? I'm still on version 4.0.4, and I've experienced some bugs such as multi-timbral occasionally not working (sounds get cut off randomly) and sometimes after loading a project it seems as if there's a sampling mismatch and ST4 sounds too high-pitched. Contemplating whether I should update... The one thing I dislike more than bugs is more bugs.
  8. sarine

    Wave Alchemy BASSYNTH !!!

    If you're going to do a comparison, some other contenders would be Loopmasters Bass Master and Future Audio Workshop SubLab.
  9. You may be interested to know that a charitable fellow that goes by the name Ceecee Lawrence has put together a group called Anonymous Gear Acquirers that follows a very efficient twelve step program to combat GAS. All you have to do is follow these steps: Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. Admit that you're powerless over GAS and your life is unmanageable. As you can see they're doing just fine.
  10. iZotope mixing tools sales have been on for how many months now? I can't even tell when one sale ends and another starts, it all just blends together.
  11. Acid would be a nice tool indeed, if only it didn't lag and crash so much. I actually had less issues with v8 than with v9, then again my projects grew by the time v9 was released. On yet another hand, v9 now crashes occasionally just from loading a minuscule project with three VI tracks and pressing play. If I'm using ASIO, some projects don't load at all. It also crashes if I change sample rate to anything but 44.1kHz, except when 1 out of 10 times doesn't, for no obvious reason. I actually used Acid as my main DAW for almost two months, but currently it's just so slow, quirky and unstable (YMMV...) that I had to bin it. Conceptually it's great (though not perfect, and the workflow could be improved more) and efficient for many of the most repetitive tasks in certain styles of music production, it's just that in implementation it's not reliable, and that's a big no-no in any long haul production.
  12. But you save 1240.75€, you'll feel like a winner even if it's enriched uranium.
  13. I'll be the contrarian here as in my opinion the MIDI editing facilities in Mixbus (i.e. Ardour) have come a long way, and in fact I think it's quite competitive in that department at this point. It is awkward, but if anyone really wants to give it a try, you need to sit down with the manual and google and do some tedious reading, trial & error and reconditioning to learn how the panning, zooming, scrolling, note editing etc. work in Mixbus, but if you do persist through, it's not bad. I certainly like the Ardour way more than Reaper or Bitwig (1.3, 2.x) for instance. As a VST host (which MIDI editing usually implies) though, Mixbus was a nightmare. Graphic glitches (GUI cropped), abysmal performance, generally extremely sluggish UI... I can only assume it was the 3rd party plugins as so many people tout Mixbus to excel at working with audio tracks. Judging only by what I've experienced first-hand, I wouldn't bet on it though. But the lag, unresponsiveness and crashes made me abandon Mixbus altogether - it just wasn't worth it to involve Mixbus in any project any longer. Now, the sound, I did like. I don't think it's any more special than the plethora of other analog emulations that exist in form of separate plugins, and I certainly am highly skeptic of the claim that somehow the advantage is the "integration" of the processors into Mixbus - I think technically that's a bullshit sleight of hand. What Harrison does have however is control over the most crucial parts of the processing chain and their architecture and a vision of where they want to go with it, a vision that seems to satisfy many. You also get the "analog" sound and relatively high quality channel strips at an unbeatable price, especially on sale. I also like Harrison's symbiosis with an opensource project (the actual underlying DAW; Ardour) as they also contribute to free software, so that might be a reason to support them if that's your thing. It's just that for me the tool was unusable, which kind of trumps any idealism. YMMV...
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