Paul P

I've been watching some how-to videos lately that have used FL studio (and some that used Bitwig) and find myself asking how I could do similar on my daw, Studio One 6 Pro, It seems that often enough, I can't, or it's not obvious. Even on sale it's a lot of money, and a lot of learning, for something that might just be a passing interest for me. But it looks like it'd be a fun adventure.

I have no experience with Noire so can't compare. One thing I forgot to mention about the binaural recording is that the sound moves with your fingers just like on a real piano which is a big part of the realism. 36 velocity levels doesn't hurt either.

This is one instrument that I'm actually pretty good at. But nothing like this Godess UUTAi Olena (she gets going around 2:25).

I also have a bunch of soft pianos and only one of them gives me the impression of playing a real one, Embertone's Walker 1955 Concert D. When I play it with headphones and the Binaural Perspective it's uncanny. I swear I can feel my Nektar LX88+'s keys vibrating under my fingetips just like when I played the console piano I dragged around since my early childhood till just a few years ago. All my other soft pianos just sound badly recorded with uneven notes and unatural perspective.

Burning Piano . Thanks, I enjoyed the soundtrack, but I'm starting to really feel sorry for the pianos. I can understand an artist destroying a piano and making a visual and sonic artwork out of the experience. I have trouble seeing another artist (or myself) using the same sounds to create something else. As sound effects, I suppose, but that seems like a lot of trouble. Could someone actually be looking for just the right sound and think, what I need here is the sound of an underwater piano.

I'm wondering if these butchered pianos can actually be used for something music-wise or are they just an example of the crazy things people these days are prepared to do in the pursuit of novelty ? Just in the last few weeks we've been offered an abandoned radioactive piano and now a drowned piano and an electrocuted piano. Where would you use pianos such as these ? Maybe the next one will be of a grand thrown off an airplane and muticulously recorded on its way down to an explosive finale. I'm sure the air rushing by would add a nice swirly background not achievable by any other means.

Man, Larry is so fast he even updates himself in real time.

Who needs experience. For 50$ I can mix like Al.

I find the drums really thin and lifeless and the voices vague and too far in the background most of the time. I really do not like the Mars song, not my style, but it does have punch.

10$ for both if you already have version 1 of Big. -10% with code LOYAL10 = 9$

The CV-2 can be used as an effect, with its own separate set of patches. The rack size limit must have a been a design choice because the workspace/rack is set up to scroll when there are more modules than are visible in the window. I understand that one aspect of the trip of going modular (at least in the physical world) is that you always have to make do with the limited number of modules that you can afford to buy (and they are usually more than expensive). The CV-2 has a maximum of 57 narrow modules or 21 wide modules on three rows plus the four at the top that are always there. I like the UI. The colours and details are very soft on the eyes. I'm learning a lot about the very basics of sound design with this synth, but even the slightest sound is a fair amount of work when you don't really know what you're doing. A lot of things aren't intuitively obvious.

No wonder I can't find a job...

I'd argue that for those, sound design may be what's fun. Creating music isn't easy. A lot easier to buy a plugin, play with it a bit, and go to bed.

I must say, the factory patches are impressive indeed. The only word that comes to mind is clarity. The sound is so much cleaner than what I get from other 'analog' vst synths. I don't know if that's something you really want in an analog sound, at least not if you're in a before-digital-era frame of mind, but it's impressive in its own right. I'm not sure what to make of it. I want to round off some corners, but then I'd lose the incredible sparkle and precision. I'm listening through some upper-end Sennheiser headphones. I have very little experience in producing music, but I've listened to and own a lot of electronic music though, and this is in another realm. I'm also just playing the standalone version so no daw or any other effects.

And they give away soundpacks every year !

Thank you for this information. CV-1 was the only AAS instrument I didn't have and I had decided to pass on the CV-2, mostly because of the price. I didn't know I'd get an additional discount for owning Tassman (which I've never used). I got the CV-2 for 49 $CDN (~37 $US) straight from AAS.

I love this synth and I've only scratched the surface of some presets. In case anyone else was wondering what happened to the AnalogVille bank created by Laurent Bourgeon (Lotuzia), Xils-lab have just made it available again on their website and it's on sale like just about everything else.

Weird is an understatement. The website is certainly worth a visit.

Looks like someone in Brazil and/or Spain.

So is it possible once again to register a serial number that's wasn't registered during the storm ?

I've just spent quite a few minutes trying to find the difference between 'registered' and 'activated' without any luck. The waves site itself is pretty opaque on the matter. Anyone know if a plugin is in my waves central but "not activated" is it registered ? If I click "Licences" on the left of waves central, I only see plugins that have been 'activated' and installed. My six ver.14 plugins that are present but not 'activated' don't show up and I can't get to any serial numbers for them if I have them. Most if not all six were freebies from waves themselves and deposited directly to my account by them. EDIT: the update plans for the six are apparently in effect as they each have different end dates.

There's a new version available since yesterday : Quite the authorization process ! New code + email at each step. JRRShop -> Plugivery -> Xils-Lab -> iLok

As someone who participated in ISO commitees way back when, I completely agree. Then too, all the work put into developing electronic document standards lost out to the narrow minded thinking of proprietary format owners (after 30 years we're still stuck with word and pdf). We had (still have sort of) sfz as the standard for samples and players but that also lost the fight.

Thanks PavlovsCat, I apologize for not giving your post the attention it deserved. You'd think Librewave could have mentioned this in their confirmation email or somewhere obvious on their website. Even the installation guide doesn't say that Rhapsody is something that is required, because it's the player. The flute page does have a "Runs in the free Rhapsody player" buried in the system requirements, but without knowing what Rhapsody is, that's not very helpful. But then it took me quite a search to figure out how to quote the above in this reply. "Quote" to me looks like the "+" button's label...

I must be missing something... I grabbed this instrument and the order gave me two files to download + my serial number : emerald_flute_data_1_0_0.lwz emerald_flute_samples_1_0_0.lwz There is no installer anywhere and searching their site for a good while produced no info. I have never seen a .lwz file before (and I've been around a while) Their 'installation guide' says there should be a .exe for windows. I tried 7-zip on the above files and got : info.hxi articulations.ch1 sustain.ch1 transition.ch1 Seems promising - but what do I do with them ? Help please...