Paul P

7 hours ago, kitekrazy said:

It's still tough for me since I started on a linear DAW at the turn of the century.

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.

42 minutes ago, PavlovsCat said:

I love the Embertone Walker 1955 Concert D too (okay, I have the lite version,  but it's so good, I'm not compelled to upgrade it; but if you have a compelling reason to offer why I should,  I'm certainly open to it), but I still find NI's Noire, made by Galaxy, is my absolute favorite piano library and the piano library I find most inspiring of all.

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).

1 hour ago, PavlovsCat said:

Sounds nice for a freebie. But there's nothing really special about it, IMO. 

... But in the current digital era, I have more than three dozen detailed sample piano libraries and still have several on my wish list. It never ends and my collection is modest compared to some others here.

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.

6 minutes ago, Yan Filiatrault said:

Or combined the Burning Piano from Spectrasonics with the Water Piano to help it.

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.

Quote

Al is an industry veteran, who has been recording artists for over 7 decades, all the way from Frank Sinatra, Ray Charles, Miles Davis; to Johnny Cash, and Steely Dan. Add to that Barbra Streisand, Natalie Cole, Diana Krall, Celine Dion or Paul McCartney... and you’ll see why there are few within the music industry who have overseen more culture-defining artistic moments than Al Schmitt.

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

35 minutes ago, bitflipper said:

Contrast with this video, which YouTube did not turn down. Listen to the crispness of the drums and guitars, and the clarity of the vocals.

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$

1 hour ago, Agentslimepunk said:

I picked up CV-1 right after it was released (maybe ~2 years ago IIRC?) and was really surprised by the lack of some of these very features, so I emailed them multiple times asking if they might implement an FX instance of the VST, and if they'd somehow get rid of the error message that basically tells you you've run out of module space (seriously, if this is still a problem with CV-2, I'm going to laugh).

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.

44 minutes ago, Grem said:

Me neither.   Give it to me for free or I go somewhere else

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

5 hours ago, kitekrazy said:

Sometimes I think users get too involved in sound design instead of creating music.

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.

4 hours ago, PavlovsCat said:

After the Waves stuff, from their ethically problematic marketing and policies to their short lived attempt to switch over to subscription-only, I feel it's useful to call out the opposite side of the spectrum: customer-centric developers that have great policies and great customer service.  I don't know how long I've been a customer of Applied Acoustic Systems, but I'm guessing it's something like 20 years and they've consistently been a great company to deal with and super flexible and accommodating when you have any issues. If we created a list of the developers we've had great experiences with that we would recommend to others, AAS would absolutely be on my list as one of the best. 

And they give away soundpacks every year !

3 hours ago, Canopus said:

As an owner of Tassman I’m actually offered an upgrade to CV-2 for $59. But no, I'll wait for the $9 deal at Plugin Boutique. After all, that's what happened to my Objeq Delay.

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.

17 minutes ago, Fleer said:

Still quite like that weird library. 

Weird is an understatement.

The website is certainly worth a visit.

19 hours ago, John1984 said:

The question I have yet to find an answer to is who, exactly, is behind this effort.

Looks like someone in Brazil and/or Spain.

1 hour ago, Fleer said:

My point exactly. 

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 :
 

Quote

Version 3.6.3 BETA (March 17th, 2023):

OSX: Apple Silicon compatible.

VST3: full compatible.

FX: smoothed On/Off process.

UI: Better and faster management.

MultiThreading fixed.

Quite the authorization process !  New code + email at each step.

JRRShop  -> Plugivery -> Xils-Lab -> iLok

1 hour ago, MarcL said:

That's the reason why I talked about sample standards that could be used of multiple providers. Me too, I don't like that NI has such a monopoly position in sample playing, even if I own Kontakt Full! I think common, open standards could help to provide more competition and would reduce absolute monopolies like this. 

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.

9 hours ago, PavlovsCat said:

Come on guys, it's literally explained in my original post and it's only two sentences and it's also explained on the landing page for the sample library. From my OP above ...

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...