Starship Krupa

That's been the way that I do it too, but I've been hearing from more and more people whose projects involve more than one DAW. Track in one, master in another. Compose in one, mix in another. The Gibson/Cakewalk Inc. debacle taught me to always stay versed in at least two DAW's, 'cause you never know what's going to happen. And while it's true that you can do just about anything with any DAW if you try hard enough, some parts of the process just work better on some than others. There's at least one DAW whose primary focus is mixing: Mixbus. And if you're doing loop-based EDM, the compositional tools in the DAW's that started with that workflow might be the best. Bitwig, FL Studio, Ableton Live. But maybe they aren't the mixing and routing powerhouse that Cakewalk is. When I first tried Cakewalk, I had a project I was in the middle of in Mixcraft and decided to export the raw audio as I had it and import it into Cakewalk as a test of workflow, stability, etc. After spending an hour with Console View, I never wanted to mix with anything else. Setting up my routing and effects and everything took so much less time. With Mixcraft, tracking and comping is much simpler. The tools for comping might not be as powerful, but it has a straightforward workflow that gets out of your way. It's still too easy to mess things up in Cakewalk. Unintended consequences. Still, I do it in Cakewalk because it's simpler to just use the one program. But I do understand why someone might want to work that way. Anyway, DAWproject is for people who want to do it the other way. I don't know how much I'd use it, but I still think it would be a good feature to have in Cakewalk Sonar. It would help signal that Cakewalk wants to keep with the times, to take its place in the arena. Cakewalk has a long history of playing well with 3rd-party technologies, VST, ReWire, ARA, etc. It also, unfortunately, has a dark moment in its history when its entire userbase needed to figure out how to move on. SONAR was saved from oblivion, but that wasn't a given.

I can understand not wanting to fall down the (Super) rabbit hole, but I hope that you can check out Portal someday. There would be no Talos Principle had there not been Portal. That's where the utility cubes came from, AFAIK. 😄

Now that's opening a treasure chest. I like Joe Hisashi's work on the Studio Ghibli/Miyazaki movies, although he used to have an unfortunate reliance on the General MIDI soundset. One of my favorite pieces of music, period, is "Rei's Theme 1" from Neon Genesis: Evangelion.

Oh, I was referring to the cost to upgrade from a previous version of Artist to the latest version of Artist. It's always been a nice deal for those of us who got a license for Artist when we bought a Presonus interface, but found no use for it because it didn't allow use of 3rd-party VST's. Or even for someone who bought their Artist license at full price. It would be kind of a drag to have dropped a hundy on Artist 6.0 a few months ago but have no discounted upgrade path. I'll try logging in to my Presonus (muh-muh-muh my Presonus) account and see if something shows up. If I were hot to own it, I would have already bought a license, but I already have a few other DAW's.

Yes, that's usually how it's done now. If this thing actually works and gains acceptance, then there will be another option. It's nice to have options, whether one uses them regularly or not. I'm not someone who at this point needs to move projects from one DAW to the next, but if I can ever get my head around Ableton Live, that may change. This, to me, seems like something that might be more popular for the use case I suggested: track/edit/compose in one program, then export it to another, for use in one's own studio. Or more casual collaborations, rough demos between bandmates, etc. Starting a piece in a program whose strengths are in composition and moving it to one whose strengths are mixing. As you suggest, not something I'd foresee getting much uptake in the "industry." After all, industry favorite Pro Tools is usually last to get features like this, if it ever does. And Apple, makers of Logic Pro, treat interoperability like vampires do holy water.

Hmm. I mentioned the "from any version of Artist" upgrade earlier, which has long been $49. I can't find that upgrade on Presonus' website any more. Wonder if they discontinued it.

Can confirm that this library is another of SoundPaint's essential tools for people who want to make ambient drone. Every other song on 9128.live sounds like it was made using SoundPaint's free libraries. Maybe more than every other.

Really looking forward to The Talos Principle II. Coming in November.

I guess it makes sense if you consider that the last people in get the benefit of the work that's already been done as far as smoothing out the workflow, issues with data transfer and display, etc. They didn't have to invent those wheels, so they have more resources available to direct at other features.

Right, as with MIDI, VST, ARA, .SFZ and ASIO. Standards like these, once they get enough traction, result in greater revenue for those who buy in. So you like to track and edit in REAPER or Studio One, but you prefer to mix in Sonar or Mixbus? Great, the easier it is to do that, the more likely that both companies will get your licensing money. Your client's home studio is based around Waveform, but you work in Cubase? Great, they can do the initial tracking and/or composing in Waveform, then you can import their work into Cubase for mixing and further editing. Maybe your client can't afford a copy of Omnisphere, so they write the track using XPand! and let you pick some groovy sounds using Omnisphere. To the extent that being able to do this is important to you, presence or lack of this feature will influence purchasing decisions. Of course it won't be able to cover every single parameter. As with all interchange formats, there will be features that aren't/can't be included. For instance, at present, video is a no-go between Bitwig and Studio One. As with loading a project in any DAW, it pops a notification if it can't find a plug-in. It's not meant to be able to go back and forth all day long between dissimilar DAW's during a complex mixing process, but to be a way that a certain amount of pertinent information can be exported from one DAW and imported to another. At as early a stage as possible. I'd say that it could probably cover most things that are involved in a rough mix, so you do your tracking and comping in your favorite tracking and comping DAW and then export it for mixing in your favorite mixing DAW. People do this today by bouncing to individual audio files in the first DAW, then importing them into the second one. "Imagine" doing that for 50 tracks, at the end of which every effect you used, every edit (no matter how imperfect) and every MIDI track, is baked-in and can't be unbaked without going back to the first DAW. I'm not going to bother typing it all out for people who don't follow links, but here's an in-depth list of what it does (and does not) cover at present: https://www.bitwig.com/support/technical_support/dawproject-file-format-faqs-62/

As much as I love Cameron's channel and his music and libraries, I don't understand why he's not making a friggin' FORTUNE as a VO artist. He's got such a great "70's FM late night DJ" voice. Jim Ladd comes to mind. Some automobile maker should adopt him as the voice of their commercials.

https://www.bitwig.com/stories/bitwig-and-presonus-are-making-it-easy-to-share-projects-between-programs-271 Free and open standard. This would be an excellent feature to include in Cakewalk Sonar.

Whoa, that's trippy. I still don't quite understand the motivation for this. The Linux DAW market is miniscule. Do they do it just to shut the Linux moonies up? But they are really working hard to pry that $50 out of my pocket for the Artist upgrade....

Oh, very nice. I've been waiting for this to come around again as a freebie. I already had a single license for it, but was hesitant to use it because I'd need to bring my license card to my laptop if I wanted to work on a project there.

As ever, Swatches has been update to include this, so even if you don't want to buy the full pack, you can still make use of 8 or so of the sounds for free.

While it's good that it's working, and WASAPI Exclusive is a good mode, it's still a good idea to see if you can get the Presonus' ASIO driver to work. You'll get better performance as well as other benefits. Keep posting here and we'll try to help. First item of business is to make sure you're using the latest version of the Presonus driver. Also, in my Universal Driver control panel, it shows what interface is connected. Make sure your Studio is shown there.

I've seen similar issues solved by switching to an earlier revision USB port before. My guess is that it somehow has to do with flow control; the interface's USB port was designed with slower data flow in mind and the newer spec ports either overwhelm it or don't hear from it often enough. Never heard of it with something as recent as the M4, though. Where I have heard of it was in relation to very old MIDI-only interfaces designed during the USB 1 days. The solution for those is to plug a USB 1 hub into the USB 2 port, which seems to slow the communication down enough so that the interface can handle it. The only issues I've seen from having bus-powered USB interfaces were related to what the motherboard and/or OS does to USB ports when the computer goes into whatever sleep is enabled. My very recent Presonus Studio 2|4 will have audio but no MIDI after waking my computer. This despite the usual going into power settings and disabling bla bla bla. I still prefer Firewire for my studio. Firewire was designed from the start for 2-way streaming communication. Looking at the specs you might think that Firewire 400 was slower than USB2, but USB2 was faster in only one direction. I thought I was just being crusty about that until I bought a recent USB interface. USB still feels to me like I'm trying to do audio over a keyboard/mouse port. Heck, as far as I know, none of the interface manufacturers are even on USB 3 (which at least has asynchronous flow control) yet. I'm hoping that my Focusrite Pro 40 will carry me through until true USB 3 or Thunderbolt interfaces can be had for decent used prices. Even the antique computers I tend to run the wheels off of have all had USB 3 ports on them, so I don't know what they're waiting for.

Chiming in because this was just called to my attention in another topic and it sounds like a very useful feature. Sounds like a large number of other DAW's have it, sounds like people making the switch to Cakewalk Sonar might be disappointed not to find it. I do anticipate people who come up with the coolest licks they've ever played during that 2 measure pre-roll to beg for an option to have Sonar record it anyway in case their genius light accidentally comes on. 😄

IMO, just liking the post isn't enough if the feature is really important to you. Replying to the topic, with your own reasons why it's important to you, is more likely to get and hold the attention of those making the decisions about how to allocate coding time. And don't worry about necro'ing an old thread, that just shows that the feature is desired by many people over a long period of time. The devs don't have time to ready every post, but they will notice if the same topic keeps rising to the surface. And persistence is not futile. One of my own pet features/headaches was how Cakewalk named and numbered interface inputs, which was DIRE with my old Presonus Firepods. I lobbied for a great long time, others chimed in, and it eventually happened in a very elegant, flexible way. All that you've said about how your hardware recorder had it, about how you researched PT, S1 and Cubase and they all had it, etc., helps make a better case for including it in Cakewalk Sonar (because Cakewalk by BandLab is now feature frozen). AFAIK, the streamlined Cakewalk group at BandLab doesn't have a dedicated marketing person to keep an eye on the competition and suggest/insist that the product include certain new features. This can be a blessing, as it puts quality ahead of questionable "big" feature bloat, but maybe there's a downside as well. This forum is the only way I know of short of making a YouTube video to advocate for features and fixes in the software. Extra points for using the word "clunky" in your post.😆 (The only thing to leave out is a suggestion that it would be easy to do, because there's no way for us to know that.)

Since I have MComplete I can't check out what of the standard Melda FX it comes with other than MTA and MC. But whatever it does come with, shoot, just because it has the word "guitar" in its name doesn't mean you have to only use it on guitars.... "It only comes with...." or "it only lets you...." are not usually part of the MeldaProduction buying experience. 😄

Yeah, I dunno. At some point, but what point? As you say, and as the devs have said, it's still up in the air. I would find it....out of character for BandLab to just pull the plug on CbB. Too many would see it as proof that the reason they put the 6 month validation in CbB was so they could eventually "force" the userbase to start paying for it.

I'm still in the phase of learning about orchestral arrangements where I'm working with free and cheap libraries/players. Orchestral Companions, Orchestools (VSCO-based), Spitfire BBC, etc. My velocities are still at 127, everything's on the grid, and I haven't gotten into articulations and the like. Once I figure out what I'm doing and what higher end libraries have to offer, I might invest. Now I'm still in my Soundspot/Dead Duck/MeldaProduction free bundle/iZotope Elements phase.

Their stuff is not all created equal. I think there are at least 3 different lines they acquired. I bought a bunch of their stuff when they were new on the scene and deep, deep discounting. Good for fast results, not so much for deep diving. Loop Engine is one that I purchased recently and am very happy with. The other ones that I keep around are the sound design-y ones. Venom can take any sound and turn it into an ambient wash, Dodge Pro is a powerful sequenced filter and dynamics processor. I bought them both as part of very low-priced bundles they were offering years ago. Thanks for reminding me, I have been neglecting Venom and Dodge Pro lately and they're good stuff....

Since I believe I got MPS 5.1 UE at the same time you did, I'm very interested to hear how this turns out.

One of the ones that does not, and explicitly recommends ASIO4ALL as a substitute is Ableton Live. I was amazed to discover that, especially given the popularity of Live as a program for live performance, presumably on laptops.