telecode 101

13 hours ago, John Maar said:

This is the better of the two SVX collections for AmpliTube, as it includes the SVX-15N in both 1964 and 1966 versions. I have no regrets paying for it way back when. But free? If you don't have AmpliTube, this is a no-brainer reason to d/l the free version.

This is true. I got it. Its great. No extra jam points, though I do have 191 and dont know what to do with them. Maybe in 10 years if I upgrade to TS.

I gotta say, IKM are giving away for free lots of their best stuff. Kind of makes me bitter I paid for them. 😞

I guess I would say

- Steve Stevens (all those Billy records)

- Eddie Martinez (Palmer record)

- Steve Lukather

- Mike Landau (his early work on mod to late 80s Joni Mitchell records really had a big influence on me)

- Satriani & Vai..

21 hours ago, bats brew said:

Allan Holdsworth.

 

or

edward.

Holdsworth was  from the 60s I think.

Good. Fun freebie. 

11 hours ago, ALC said:

Comparing to iRig HD X...

iRig USB ($69.99):

• Input impedance: 500 kOhms
• Maximum input level: +13.5 dBu
• USB-C to USB-C cable (60 cm/23.62")

IRig HD X ($129.99):

• Input impedance:1 MOhms

• Maximum input level: +9 dBu

• USB-C to USB-C cable (60 cm/23.62")

• USB-C to Lightning cable (60 cm/23.62")

"... with iOS lightning device, the iRig USB will require a CCK connector/adapter."

Sampling rate maxes out at 48 kHz on USB vs. 96kHz on HD X.

Both come with the same software bundle: AmpliTube SE, TONEX SE.

Probably good enough for most people vs. iRig HD X.

so i am dumb. which one has better impermanence and max input level  for guitar? i am guessing the HD X, right? I have a really old irig and older ipad. i havent used them in ages. i should try to do the test and see how latency compares.

FWIW.. i have been thinking about trying the ipad/cubasiss DAW thing again. when i last tried it, it was cumbersome as hell to do anything on it. but maybe things have gotten better. i have been listening to some  new releases by a major artist (bruce hornsbys last record which has more of a electronic instruments sounds)  and in the interview he talks about how one of the musicians -- Ethan plays the  ipad a lot of to make the sounds.

7 hours ago, Craig Fowler said:

@Peter - IK Multimedia Does the IK online shop ship all over the world? This looks like my cheapest ticket to ToneX SE.

I'm asking because I can't seem to update my address with IK to my non-USA country of residence. 

It ships to Canada. I bought a few hardware items from there.

is this decent deal price?

they also got the Al Schmitt in sale.

https://www.audiodeluxe.com/products/virtual-instruments/leapwing-al-schmitt

I am "overflowing with Pultecs and LA-2As" and tape emulations..so I pass.

5 hours ago, Brian Walton said:

Are you seeing the performance you hoped for related to audio specifically?  Is everything M1 native that you want to use?

 

Anyone with talent can create great music using any DAW (even free GarageBand on the Mac) as long as it can record audio.  But at the same time Cakewalk has ~30 years worth of updates, feature build outs, etc under the hood with dedicated paid teams.  It simply is going to have more to offer for those that want it than these fly by night systems or even more limited resource houses.

 yes for the high CPU stuff from Softube and IKM. Not so much for the DAW but its running in rosetta. if i had to chose again, i think i would get just gone newer gen Intel. its been a hassle with Mac. but I am gonna try to stick it out.

23 minutes ago, Brian Walton said:

It is far more updated than any of those other DAWS and will be for a while.

Don't care about MAC users who spent too much money on a machine that will break the software loaded on it with the next OS update.

oh well. i guess i am out then. i invested and bought into the M1 platform hoping for better performance.

there was one guy I met on another forum that was doing some great music using Samplitude.  Not free, but that one I see goes on sale for crazy low prices as long as you are willing to buy the previous version.

2 hours ago, Jacques Boileau said:

Out of curiosity: why?

the online store weirdness. and also at this point, my price to upgrade to 13 will be just about as much as switching to a new DAW.  maybe with a crossgrade offer, it might even cost me less.

good timing on poll. i am in the market as it looks I might be getting off Cubase. researching Bandlab and others now. 

10 minutes ago, Kiloteq said:

It must have far exceeded TAL's original expectations.
It is unfortunate, but I will keep in mind that these things happen and move on.

Yeah, you win some.. you lose some. Life goes on. I didn't get this as I need another Jupiter VI about as much as I need another hole in my head.

I see the peeps complaining over at GS. get over it. it was a price error on a piece of software. who cares. if you needed it that much.. wait for a another sale to come up. I am still kickin my self for not picking up the Eventide and Boz stuff from last years AD anni sale. I moved on. Money saved as I didn't really need those anyways.

Ronson was a great player and cool guy. There is/was a boxset released a while ago. I have it. Great music.

the colors looks like a girls birthday cake.

holy crap. who are these products for? when i was a touring broke ***** musician. i barely could afford cheap crap amps. now that i do make money, i would never spend this much on an amp.

$4k.. wow..

I work a lot in americana and country. i would say IKM SampleTank is probably the most bang for your buck. It pretty much has all that you would need. Though some of those Americana records also used quite a bit of synths.  Lots of prophets, DX-7 and so on. Whatever was in those studios at the times had around. Does not mean they had an electronic records feel. It's all about how you make them sound. Syntronik has lots of those prophet like samples.

5 hours ago, Jason Neudorf said:

..the SampleTank engine ..

I can probably chime in as I am a big ST user. So what I have so far discovered is, i like the fact that its a unified interface. Also if you use individual instances of ST with one instrument per instance, it uses separate cores of the CPU which seems quite handy for working with multiple tracks as i keeps resource usage low. Also, if you are mildly familiar with T-racks, the effects are really straight forward to navigate.  I have also found I seem to like the sampled syntronick synths better than arturias emulations They just seem to have more punch to them and stand out better in a mix -- to my ears anyways. My only beef with it is the dark GU. its sometimes hard to see small fonts. Maybe something IKM folks can address in future update.

The ST deal is pretty good if you are a ST user. It includes the new mojo stuff  and also the dobro resonator.

https://www.ikmultimedia.com/products/stmojosynthesis/

4 hours ago, Clint Martin said:

If I prefer to play my own bass parts, what does EZbass do for me?

Can I upload my part and convert it to midi, and replace it with a toontrack bass sample?

yes to both i believe. what i do with it is i play the bass part in keyboard in midi. then throw it at EZB. and then apply a pattern and see how that works out. it can also accept a wave file of a guitar di part.

I see the availability of music really no different that availability of tv and film content. In the last, 30 or 40 years ago you only had a few channels or radio stations. So yeah, it was really easy for make something and capture an audience. there weren't that many other channels to switch to.

5 hours ago, Carl Ewing said:

The art is making the music.

this is pretty much the only thing I care or focus on. its  a hobby. like those people that will buy some paints and a small canvas and go pain a flower or creek on weekends for their own enjoyment. or someone picking up photography as a hobby. but in this case, music and software. It has nothing to do whatsoever with trying to sell the canvas or photos  in a gallery or try to make prints and sell it in IKEA. its totally devoid of that sort of commercial reality and does not need to be joined at the hip in order to be enjoyable or successful.

the business of music is a different thing. its not just music. its a lot of marketing, selling, dealing with people that don't make music. maybe even dealing with a lot of annoying people you dont want to deal with or even be near them. it's not something everyone wants to do if they dont have to do it.

1 hour ago, PavlovsCat said:

Yep. that is the challenge beyond the challenge of making really good music people want to listen to. It's a lot like having a website. There was a time in the early days of the web where having a website was a big deal. MySpace was awesome for its time, IMO. But now there's so much content out there it's incredibly difficult for someone without a team and big budget behind them to find the RIGHT audience. 

Peter brought up Dave Kerzner -- who I'm guessing some people here are familiar with (he founded Sonic Reality and had played keyboards with Kevin Gilbert -- a singer/songwriter/musician I was very fond of -- back in the 90s). Dave has done a lot of touring (live shows) and is active engaging his fans in social media. So, he follows the indie long-time model of combining traditional live shows and online presence. I think, unless you have a huge social media presence -- such as being a popular influencer -- that's the route that still works best for most indie artists. If you haven't built an audience using either live shows or online, and just put your music up on a service like BandCamp, they will not come (taking that from the often-used Field of Dreams paraphrase, "if you build it they will come"). It's simply too challenging for the right audience to find the right music with so much content out there. That's when you either need a lot of luck (rare) or, more likely, a lot of money and a publicity machine behind you. Most musicians putting up their music on services like BandCamp don't have those resources. I think there are ways of doing it better than the current solutions, especially with using AI to match those who want music around their interests, but the problem is always going to be that those recommendations are going to be impacted by financial concerns. That is, the platforms are going to promote those who pay and I doubt that will ever change. It would have to be a nonprofit that is completely ethics driven by art over commerce for indie artists to get the same treatment as artists with a big budget behind them. 

I am just doing this with no commercial expectations. I just do it because I enjoy doing it and its a hobby. Making music and using music tools that were in the past inaccessible is whats it all about for me. its a lot of fun. I sort of approach it as a personal challenge to myself. Can I be focused enough to complete a song or a complete work that lasts 5 mins or so.

I am very far removed from what is currently modern or popular music and musicians.  Where I am these are the types of people that are currently what audiences like to see and  hear. That ain't me. Kerzner is cool and respect what he does, but I would never do that and never did it in the past. a) I have a job and use the monies  from that to fund my hobbies. And b) even when I was younger, I never was after making money from music. I never taught guitar to kids in the neighbor hood or did things like play in cover bands.

1 hour ago, PavlovsCat said:

Thanks for the post, @Peter - IK Multimedia.  I do think BandCamp has been a good place for musicians. Their revenue split is pretty generous.  I didn't mean to be a Debbie Downer, I just meant to express that I think the vast majority of creators there won't see success and there's no easy solution for that.

I didn't realize that Dave has used it so extensively. I need to spend more time there. Is that largely where Dave has cultivated and grown his fan base online (of course,  in addition to touring/live shows)?

Last I heard. It would take you a year listening 24/7 to catch up with all the music being released in one day on Spotify. There is no way you could figure out what artists you would want to listen to without a big label and big marketing campaign.