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  1. Not going to use mine, PM me if you need a $25 one. Gone.
  2. The chart was confusing so I tried to make it clearer.
  3. I'm slightly intrigued. I have zero interest in using musical pattern generators, but having direct access to a more theoretical representation of music integrated into my DAW would certainly be useful. As someone who knows music theory, how does this program make a better use of your time? How often do you find yourself reaching for it, and to do what? Do you use RapidComposer as standalone, in conjunction with another DAW, or as a sequencer within the latter?
  4. Now if it only could spawn a bot to sell those unused plugins and price them according to past price statistics by optimizing for a desired balance between fast riddance and recouping costs depending on which probable impulse purchases are expected to occur soon, then use the funds acquired from resales to automatically purchase and install those. It wouldn't even need to notify the user, and you would feel like James Cameron descending into the Mariana Trench when you browse the plugin statistics and find stuff at the bottom which you never even heard of, but now that you have, you'd definitely have bought that!
  5. Great for adding grit and depth on the drum bus. Easy to overdrive though, and I wonder if there exist sounds that this plugin couldn't totally destroy, which makes me wonder about the utility of the more extreme settings.
  6. The UI critique was relevant regardless of whether or not you find it significant or agreeable. It's a meme and the intended use was to lighten the mood. My apologies - I shouldn't presume everyone knows what I know. https://knowyourmeme.com/memes/thanks-obama https://www.dictionary.com/e/memes/thanks-obama/ ""Thanks, Obama!" is a sarcastic expression used by critics of President Barack Obama to blame personal troubles and inconveniences on public policies supported or enacted by the administration. The phrase is often used to caption animated GIFs in which the subject appears to be struggling with a rather simple task, satirizing those who scapegoat Obama as the cause of problems for which he has little or no influence." "Obama himself became aware of the meme and referenced it on more than one occasion. In a 2015 BuzzFeed video aimed at raising awareness for the Affordable Care Act, the president responded to a cookie too large for his glass of milk by muttering “Thanks, Obama” under his breath." I thought it would be clear from the context that if anything my ramblings were anti-political. What was apparently incoherent was the rough transition to absurdity towards the end, i.e. from serious critique to jesting about how these days politics gets injected into everything, while also trying to insinuate that perhaps that contributes to people being more cautious about expressing their personality in fear of it not fitting in to a socially acceptable category. It's much safer to be neutral and colorless. The effect is evident in public discourse and arts, where people project ideological stances onto art, stemming from their own insecurities - some of which is attributable to social pressure. This is a thread about a VST, but this is also a forum of artists/producers, and I thought an off-hand remark about a possible connection between trends in graphic design and the soul-suffocating effects of fascistic discussion culture and thought-policing - albeit admittedly far-fetched - might at least spark someone's imagination. The only thing downright idiotic was my illusion of transparency. We can go back to discussing the VST now, but I reserve the right to explain myself. If I offended someone then I'm sorry and I assure you it was not my intention. Unless you do the specific kind of lazy GUI design I was offending against. The best response, let's leave it at that.
  7. Hate this new GUI fad à la Unfiltered Audio. It's basically what's known as "programmer graphics" or "coder art" in the indie game development scene where a lone programmer without artistic talent or interests uses awkward placeholder art (sometimes shipping the final product as is), riding the flat UI trend to cut costs on graphic design. I guess some people find it attractive for some reason, but to me it's a distasteful compromise and hits the sour spot on the continuum between spartan utilitarianism and eyecandy. Melda dodges the sour spot despite getting uncomfortably close. Sugar Bytes does eyecandy well. HrastProgrammer's Tranzistow does spartan well. I get the impression that people are more afraid of expressing style now than before. They fear becoming "dated" and it sucks the personality out of some artistic outlets. What's worse than being dated? At least nobody can get provoked by your GUI and accuse it of being racist/leftist/neocon/libtard/transphobe/SJW/pro-Trump, when it doesn't look, taste, smell or feel like anything. Thanks, Obama.
  8. The replies:views ratio of this thread is strikingly disproportionate compared to any other, which suggests bots. Probably not the company apparently known for their aggressive marketing, DMCA hyperactivity and fabricating copyright claims to shut up critics. Business entities like this are sometimes pathological to the core - they've emerged from antisocial behavioral patterns and practices, and their primary function is acting proactively antisocially to get what they want. Public emotions such as shame or embarrassment are for (human) idiots and loser companies who are just too weak, afraid or incompetent to go full psychopath. It doesn't matter so much what goods or services the business deals in, when the main ingredient of success is their unhinged personality.
  9. https://www.trustpilot.com/review/unison.audio https://cdm.link/2019/04/youtube-censorship-hell/ I won't soften the blow on this one: Stop giving money to scumbags in return for garbage.
  10. I wonder what kind of charges Samsung is going to press against the cheating SSD buyers, and how they managed to catch them in the first place. Did a retailer rat out their customers who bought competing brands?
  11. I agree with this, the average quality of hardware is deplorable these days. I gladly pay more for quality, because you know how the sayings go; "the poor man can't afford to buy cheap" because "buy cheap, buy twice". Low quality tools make me really angry. I'm cautious to buy anything that Jordan Rudess promotes, the man is so skilled and charismatic that whenever he shows up I deem it false-advertising. He could probably play scales on a triangle and make me buy one, and only when I open the box I remember how much I hate triangles.
  12. I use synths and sampled instruments, and I like most kinds of music (genres). I produce for myself and my own projects, and am unrestricted and open to everything, always looking for new things or ideas to benefit me. Seaboard and Linnstrument have been on my "watchlist" for a while now, and I'm curious, albeit skeptical. Despite being a child of the digital age (Commodore 64, NES, etc.) and things like "chiptune" and FM synthesis being forever embedded in my soul, I'm somewhat old-fashioned - even conservative - when it comes to arts and crafts. So here's a viewpoint from that background: I've owned a handful of hardware units such as Ableton Push and Elektron Octatrack which I found interesting and acquired in hopes of increasing my productivity or creativity, and while I had a lot of fun with them, they had the exact opposite effect to what I had hoped for. For instance, Push was a fun instrument and I often woke up to the realization that I had spent two hours just improvising on the ingenious diatonic scale layout, finding all sorts of useful chord or melody patterns. Too often, I found, as I never actually made anything out of them, so that music lived and died there and then. Piano is not that different in this regard. The thing is, when I'm working on the computer making music, the MIDI keyboard is not even that involved in the process. I use it most in the beginning phases when I look for chord progressions, melodies, modulations, and the most basic variations, but when I reach the point at which I suddenly know what's going on, my hands get glued to the mouse and keyboard and the MIDI keyboard becomes like the half-acquaintance you took advantage of and ditched after you got what you wanted, rather than a trusted companion. At this point I feel most creative and doing the boring clicking and clacking on the mouse and keyboard feels most productive, so much so that playing an instrument feels like a waste of time, because I already know what goes where. It's also the part that is most excruciating because when I say "boring" I mean it; my workflow is probably not the best, but out of every bag of tricks, gimmicks and gadgets, what it does best is: work. I've never been successful at incorporating these fancy controllers or innovative workflows (e.g. Bitwig/Live type clip launching) into my own process and have always found them to ultimately slow me down. When I go back to doing things the dumb & tedious way in Cubase, I always get things done. The demo video for Osmose is intriguing, and I can see the possibilities with these types of controllers. But again, it just looks like another thing to distract and slow me down, rather than accelerate my creative throughput. A lot of the effects can be programmed in using general MIDI, expression maps or the sampler track, to name a few. I can do the expressions with more precision than I could ever hope to expect from my fingers, and it doesn't take days, either. I'm not downplaying how nice these "multi-dimensional" controllers are conceptually and I imagine live performers going crazy about this technology, I'm just pretty sure they would be a novelty toy and a ridiculously expensive productivity catalyst (rather than a driver) in my hands.
  13. I've been wanting to try a Seaboard for a while, but all these super-expressive controllers make me wonder how much would they actually add to the music. The 'wow factor' is there and I bet they're fun to improvise with, but I'm not that convinced that they'd increase my productivity or creativity. I compose and design sounds mostly with intent and usually know what the sound/melody/rhythm etc. needs done to it without hearing it first. With all the expressiveness these controllers allow, I doubt actually molding the sound live can be done in a controlled enough manner to replace drawing automation curves with the mouse. I'm also not sure whether this "multi-dimensional" touch control is at all better as a concept than separate knobs/faders/pedals for controlling the extra parameters. Sounds like the latter would give much better control considering how much challenge just controlling the whole dynamic range of a plain old acoustic piano can be. Besides, when you're creating such busy sounds and soundscapes, do you really need both hands anyway? A friend of mine (a decent pianist) had gotten to try a Seaboard and found it awkward to play on. But he also said that when he saw someone else who knew the instrument play on it, it was pretty impressive. I'm not sure if the impression was of the musical, or just dazzling sound effect sort.
  14. Generally I agree with the gist of what you're saying, and I hate the oppressive atmosphere of our contemporary culture with its hypervigilantism about words and real or imagined - or sometimes just IMAGINABLE - connotations. But I also have to agree with Reid here. This sort of talk typically starts rather innocently but before you know it all the chicks are gone and you wonder why. Because a once mature, undiscriminating and non-sexist hangout gradually, without any actual malice involved, transformed into a "bro" nest. It doesn't take genuine sexism or misogyny, only a series of slight prods into a direction where similar speech mannerisms become normalized. I know it's a joke, but a random bypasser and potential future participant has no reason to presume so, because real sexism and misogyny exist and quacks just like that other duck.
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