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  1. The sounds are good, but I'd rather chew sand than deal wade through all of that content using that SampleTank 4 browser. Thanks, but no thanks. Talk about a change for the worse. ST3 is similar to Kontakt. I like it. I will sit on that version until it no longer works, and in the meantime I'll take that cash and invest it into Komplete instead of ST4 [MAX] because I would use almost nothing due to not wanting to waste countless hours using that horrible browser interface.
  2. It depends on what kind of work you do. If you edit audio so much in a way that would even require Sound Forge or SpectraLayers, then I'd actually say you should buy this more for Samplitude and do that work there - not in Cakewalk by BandLab. It's much better for that kind of work, and Sound Forge is really 99% redundant - Samplitude is so good at this ,that it makes almost no sense to bundle Sound Forge Pro in the package. This is why they can bundle an old version and no one really cares. Most Samplitude users don't even use Sound Forge, and I wouldn't be surprised if most didn't see a need to install it. Apart from that, Sound Forge Audio Studio is still overpowered for this use case, and far cheaper. Different DAWs exist and some of them bias heavily to certain types of workflows. If I were mostly recording acoustic music and editing audio, I'd probably use Samplitude any day over Cakewalk. That is right up its wheel house. Cakewalk has a better workflow for the production of some other types/genres of music, and a better UI/UX (not necessarily feature set, as Samplitude is deceptively stacked) for doing MIDI composition, though. What you use depends on what you use. ARA was developed to eliminate the need to round trip destructively to applications like audio editors. Audacity is not a Wave Editor. It's a Digital Audio Workstation without MIDI capabilities - like Merging Pyramix. Using Audacity as an external wave editor with Cakewalk makes as much sense as using Samplitude as Cakewalk's external wave editor. It's not designed for this, or this type of use case. This is why it's such an annoyance to use (i.e. insists on offering to save project files, instead of just saving over the audio file when you CTRL-S).
  3. Samplitude goes on sale weeks after release. You can buy it on sale 7-9 months out of a year. The MSRP exists only to make the sales prices look amazing. And it may be, to the right person. Don't know why they bundle Sound Forge Pro 13. The only reason to use Sound Forge Pro instead of Samplitude to edit Audio is for automatic zero-crossing snapping Samplitude has a solution, though not as elegant). Sound Forge is so utterly redundant that it is going to be an effectively value-less product bundle to most buyers. Samplitude is actually a better workflow for editing audio than for music production 😉 That is why I would buy it. Audio Editing and Mastering... I wouldn't buy it for production (well, I did, and regretted it), unless you mainly do acoustic music recording (naturally, it is very good at that). I would buy Suite if you think you need both SL7 and SFP13, though Steinberg has a 50% off sale for SL going at the moment. If you only need SL Elements, then just buy that at half off ($40 or so). If you are looking into getting into recording orchestras and editing that kind of music, then you should investigate Pyramix Pro, as Samplitude lacks 4 Point Editing and Sequoia is hilariously expensive. For that kind of work, Pyramix Pro is closer to Sequoia at Samplitude Pro X4 Suite's price point than Samplitude itself. You could possibly save yourself $2,500+ (or a lot of time trying to fudge this kind of work in Samplitude).
  4. Makes sense. I will change the base in Cakewalk to -2 becuase otherwise it is confusing to me, since I have become accustomed to Cubase's base. Thanks for the response. I was out a few days, so couldn't respond quicker.
  5. It's actually pretty big. Some of those features seem small, but have big implications. Plus, Cubase already has almost everything anyone can ask for. There is only so much more they can add, unless they want to start trying to go into the Live Performance space, which I do not foresee (yet). Products like Studio One have "big" updates because there is a huge feature disparity between them and products like Cubase Pro. There is more tot add, therefore they can add more in their upgrades. If the upgrade isn't big enough for someone, they can simply not take it 😛 Betas tend to be feature locked. There are unlikely to be any Deletions or Additions. Updates, maybe, but I highly doubt it. Once a product enters beta, it's all about bug fixing and polishing up the release.
  6. It definitely does. I just imported them again, and my setting was the same as yours out of the box. All of the Cubase Expression Maps imported with the Key Switches transposed UP Two Octaves in Cakewalk by BandLab. I am not talking about the "Remote Key" in Cubase Pro (whichi Cakewalk does not import, anyways). I'm talking about the actual note assigned in the Key Switch. For Violin Tutti it's C0 in Cubase, and when imported into Cakewalk, it's C2. For Bass Tutti it is C5, and when imported into Cakewalk it's C7. Repeat this for all Expression Maps imported. I have 159 Expression Maps on my machine. ALL of them import this way. I can create an Expression Map for anything and when imported into Cakewalk, the Key Switches all get transposed up two octave. Cubase: Cakewalk:
  7. Yes. But you really want a DAW with good metering and visualizers for mastering, or you'll have to supplement with the plugins needed. You also are going to want to get better dynamics plugins than what Cakewalk ships with. I would bias to Samplitude Pro X Suite over both Cakewalk and REAPER for Mastering, and it's more flexible than Cakewalk when it comes to Mixing. That DAW was designed with Mastering in mind. Cakewalk was really designed for composition and production. Honestly, you haven't given enough information to inform people of what would be more practical for you. My suggestion is to use Cakewalk because it costs you nothing, and move on if you feel you need more and other DAWs offer what is needed. Honestly, that's the obvious choice. Going from Cakewalk to REAPER isn't like going from Cakewalk to something like Ableton or FL Studio. It's not that huge a bridge to cross.
  8. If you're going to be doing a lot of Live Recording and Editing of Audio, then REAPER is better; although I'd probably prefer Samplitude Pro X Suite for that kind of work. I'd also give it the nod for composition, and it has a much better score editor than Cakewalk with the ability to import and export MusicXML. The MIDI editing is fine. You'd just need to get it all set up the way you want it after installation. Do this first before jumping in, so you don't have to "backtrack" when you actually want to get work done. It has good documentation, as well. It's $60 for a Personal License and $225 for a Commercial License. Personal License is for people who make $20k or less with the software (so, not for Professionals). I actually prefer Cakewalk over REAPER for EDM and similar genres, as it has tooling that works well for that, and is set up pretty nicely out of the box. Matrix View, AudioSnap, Loop Construction View, Synth Rack, etc. If your machine is low spec, then go REAPER because you're going to need all of the headroom you can get. Personal Opinion: I do think REAPER is overrated, and much of this is driven by people who use the software without paying and convince themselves it is "Free" simply because the trial isn't enforced. It's the new FL Studio, pretty much. DAWs like Digital Performer and Logic Pro X are fine for Live Performance - particularly Logic, since the 10.5 update (it's on par with Ableton Live, except for MIDI Sync). However, DP costs considerably more than REAPER, and Logic Pro X is only on macOS (so, not an option for the OP).
  9. Importing these into Cakewalk, it seems like it transposes all of the Key switches up two octaves, which is unfortunate. it means the end user is going to have to edit every articulation map and move every KS note down 2 octaves. Not sure why it does that.
  10. You're making no sense. The person said "on the Windows platform." Nowhere in that original statement was it stipulated that SONAR could only be compared to "Windows-only DAWs." - particularly as this list grows smaller and smaller, year over year, it makes literally no sense. macOS is not what kept SONAR back, and you display a complete lack of understanding of how the digital music recording industry has evolved in her cited examples. I've given examples of DAWs with deep feature sets, which are relatively renown, and which never got to where Cubase, Live, or FL Studio have despite being exclusive to macOS until relatively recently (given how long they have existed). I've also given an example of a DAW (you cited) that didn't make the move to macOS until 2018, yet has seen far more success than SONAR (as a commercial [sold for $$$] product) - even before then. Cakewalk was getting shuttered when FL Studio was just moving to macOS. But you seem to have chosen to ignore this and repeat nonsense. Ableton, Cubase, Studio One, REAPER, FL Studio, et al. are DAWs "on the Windows platform." They don't get excluded from a conversation simply because their developers had the foresight to invest in a port and follow through with those plans at opportune times. If macOS is as big a deal as you say it is... seems like the investment would have been worth it, no? Stagnation and Product Direction hurt SONAR. Not the lack of a macOS port. There are more than enough Windows users (musicians, producers, etc.) to make an industry leading DAW and not be ono macOS. If your product is it hat good, it will even pull users off of that platform.
  11. WASAPI has existed since Windows Vista, and works well. Vista was released in 2006, over 14 years ago. The issue is that DAW developers have been slow to adopt support for it, with even some Windows-only DAWs lacking support for WASAPI. It's not as good as Core Audio, but it's not othe sh*t show that a lot of people make it out to be. Professionals will always have an Interface with ASIO drivers, anyways. This is not as huge an issue as many people make it out to be.
  12. Update: Miroslav 2 Philharmonik Solo and Ensemble Woodwinds Expression Maps complete I've replaced the archive in OneDrive with a single archive that contains all of the Expression Maps. The expression maps are organized into a folder structure that should be self-explanatory. I've looked through the Philharmonik 1 instruments and there are a few that I want to create maps for (Flugelhorn, Choirs, etc.), so I'll probably get to those over the weekend. The choir has like 20 key switches, and my fingers are triggered by that, right now. So much clicking and typing! Just a few of the instruments that aren't in Philharmonik 2, but are relevant and useful. Not sure I will do the entire legacy library 😞
  13. Clarification is definitely needed: The person I responded to stated that Cakewalk was the most used DAW "on the Windows platform." This is the specific statement I disagreed with. macOS has nothing to do with that, and Logic Pro X is irrelevant considering Apple discontinued the Windows version of Logic upon acquiring eMagic. This is called "moving the goal post." FL Studio didn't get native macOS support until 2018. 98.6% of its success came as a Windows-only DAW, and a pretty sizable chunk of that was due to how easily pirated that DAW was. Digital Performer was macOS only until version 2012. Being macOS only didn't stop it from being heavily "niched off." DP is older than Cubase, and yet was overtaken on macOS by Cubase, when Cubase started off as a Windows-only DAW and was ported a decade or more after DP's initial versions. Cubase started off as a Windows-only DAW. -^^^ Pro Tools' Dominance has much to do with the fact that it was a frontrunner in developing the Digital/PC Recording market, aided largely with the hardware that integrated with it. It was Windows-only, it still would have become the recording standard because nothing else was nearly as good at Pro Tools at delivering the solution DigiDesign were selling. DAWs like Performer, Cubase, and SONAR started off as MIDI Sequencers. I think you are severely overrating just how valuable "being on macOS" actually is. You're also overestimating its market penetration in the creative market. Even if you look at a lot of the famous producers and composers on YouTube... many of them run Windows. The Creative = Mac is largely vestigial on the eve of 2020.
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