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Royal Yaksman

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Posts posted by Royal Yaksman

  1. 12 minutes ago, InstrEd said:

    I'm sorry I just don't see the point.  Mac users are what about 5% and Apple has Logic at a very low price plus Garageband too that is iOS. Apple is valued at over a trillion $. How will Bandlab even remotely compete.  So far there seems to only be a few coders at Cakewalk in Boston.  Now I can see Bandlab expanding Bandlab part  more into the iPad market. Would make more sense that way.  It takes a lot of work to build a functional DAW.  Tracktion Waveform has a Mac version and most complain that it not as stable as the Windows version.  MOTU made a Windows version of Digital Performer and took several versions 4-5 years to get it up to the Mac version on stability.  I think I would rather have Bandlab make Cakewalk DAW the best Windows DAW on the planet IMHO :)

    I agree that a Mac version of Cakewalk would likely lag in stability by comparison. All DAWs that were windows first and then create a Mac version suffer from this to some degree.

    It's interesting that you mention Mac is only a small percentage of the computer market. Because whilst that is true, what are the figures of Mac vs PC specifically in relation to DAWs? As many musicians and producers still hold to the mantra of "must have a Mac for music production."

    DAW users are a niché to begin with and specialty operation equipment is sought by the users preference. Therefore I don't think it's unreasonable to assume that in terms of music production, that the two platforms might be closer in useage than the total useage of their machines for all computing purposes. For example, there has always seemed like a relatively even number of Mac and PC users on many music/gear/software forums. Except for Cake and Samplitude.?

    I know Logic is a Mac behemoth but surely free beats $200 every time for low budget DIYers? And as for taking up resources, a dedicated Mac team, completely separate from the Windows team would be utilized in an endeavor such as this. So it wouldn't impede anything on the Windows side of the house.

  2. 8 hours ago, InstrEd said:

    Never going to happen? 

    Do you think a company like Bandlab would be happy to offer a product that ignores their Mac users? It is of course all just speculation, but my thoughts are that as soon as the purchase went through, a team of coders were hired to build a Mac version from scratch. Sure they wouldn't likely advertise it. But consider what Bandlab are attempting to do with these products. To me it doesn't make sense to not be building a Mac version and that is coming from someone who does not have a Mac and would not ever buy one.

    I just cannot see that a company like this would be happy to essentially say: "Hey Mac users please use our online service, but if you want deeper editing from us you are going to have to buy a windows machine."

    Another thing to take into consideration is that this is not the Gibson days anymore. The original Sonar on Mac thing failed because of lack of demand, financial pressure and an inability to have a product in development with an elastic runway for release. Bandlab on the other hand have the time, money and they also have a demand as they have a raft of Mac users utilising their products daily.

  3. If you are using an 808 from a synth/instrument: In the controller lane for the synth you are using, you have to add portamento and portamento time. The lanes work as on/off for portamento and portamento time being how quick the slide occurs. However, this is dependant on the synth or instrument you are using. Some instruments do not support the portamento slide feature and whilst some do, you may have to search around the instruments options to find how to activate the capability within the plugin.

    Unlike FL Studio, Cakewalk doesn't have a sampler track where you can dump an 808 single shot sample into the channel rack and then trigger it at different notes with slide enabled. This is one feature that FL made incredibly simple.

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  4. Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?Why?

     

    ^There you go Bapu!

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  5. 10 hours ago, James G said:

    Me too. A lot of it is way over my head but he's a very engaging chap, and I love his 'what makes this song great' series. 

    That series is awesome. There has been quite a few songs where I recall having seen the tab for it, but when I played it through, one part just wasn't quite the same. I always assumed that maybe the band just doubled some stuff, so it won't sound right with just one guitar? But then Beato does a physical play through and pulls out some dissonant note with a hidden rest and I slap my head, realising I have been playing it wrong all along! ?

    I think my relative pitch is only relative to parrot fashioned learning. ?

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  6. 11 hours ago, paulo said:

    He's nothing like I thought he would be, which is strange because I've never consciously thought what he might be like.

    Same. Despite owning a few plugs with his name on it, I'm not sure that I have even heard him speak before? For some reason, I dunno if it is because he has been in the software game for ages, I guess I kind of pictured a semi-nerdy dude. I hit play, half thinking I'm probably not going to watch the whole thing and two minutes in, I got myself a drink and settled right in!!! ?

  7. 4 hours ago, Blades said:

    2. The community is better, I think.  Even if there are some things here that are a little difficult sometimes, the general sense is more community and less "program".  The Presonus forums are not as active and definitely not as "community" oriented.

    The sad thing is that the original Presonus forums were actually great. But Presonus decided to go the ultra PC route and created new forums with heavy handed moderation, deleted posts, deleted threads and banning sprees. They have really hampered themselves because ever since then some of the most interesting people that were on the now archived forum, don't bother to post anymore. I can't really blame them, as too often I see something like this:

    1st Poster: "I have this opinion."

    2nd Poster: "I have a different opinion."

    1st Poster: "I can see what you are saying, but here is a link to a site that shows why I hold my opinion."

    2nd Poster: "That is interesting but I am still sticking with my opinion."

    (At this point neither poster has attacked the other and there isn't even a hint of snide remarks, nor sarcasm)

    Moderator: "This is a place for civil discussion. If all you two are going to do is argue, I will lock this thread."

    Everyone else who was reading the thread: "WTF???????????"

     

  8. 1 hour ago, Kuusniemi said:

    At currently no. I do not own Halion and quite a bit of the patches run heavily on the granular synthesis in Omnisphere so Kontakt is not a very good host for them. I did not want to hinder the usage of the sounds by making them into long WAVs that would be run inside a Kontakt interface. I wanted the patches to have a more room for change. :)

    But I have plans for other libraries that will utilize Kontakt. Actually my next one will be made for Kontakt and Battery (and it will have uncompressed WAVs as well). :) But that is another story... ;)

    Okay cool. What about Reaktor? Or would that require breaking the bits apart too much and creating a sort of revealing the wizard behind the curtain scenario?

  9. With less percussive sounds you will likely find that you will have to manually place some, if not all of the markers to get a good result. With guitar you may also find that having the transients begin slightly before (or after, song style dependant) the beat marker, makes it flow better with the rhythm.

  10. 1 minute ago, ØSkald said:

    Cakewalk and every other VST DAWs do oversample softsynths and FXs, don't they? Or how is this really?

    They don't  by default. But you can select it. What I am talking about is dry audio recording. I can't hear a difference there. Sure add some plugs that benefit from upsampling and that changes, but tracking dry audio? I'm not convinced.

    This is where confusion lies. People listen to 2 mixes, mixed at different resolutions and the mixes involve plugs. Of course they hear a difference. But what has that got to do with the dry audio?

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