Bruno de Souza Lino

1 hour ago, AndyB01 said:

Absolutely no idea, never heard of EHX POG or used it I'm afraid.

I doubt it's either as good or as versatile as the POG, which costs 3x as much. However that view is based on a quick Google and no more.

Andy

There are also the Micro and Nano versions of the POG, which cost about the same as the mosaic.

When you add external gear, you have to either do a real-time export or as others pointed out, record the output of the external gear as audio. There's no other way to have the same speed as an offline export with external gear otherwise.

But how does it compare against the EHX POG?

Fishman Fluence then add a small pickguard to mount it.

The first thing that comes to some people's minds is:

"Screw your BS online Minimoog crap. Where's my free plugin?"

Toontrack certainly has the most mindshare when it comes to drum VSTi's nowadays. BFD used to be in the same position SD was in the past until FXpansion decided to stop caring and Toontrack caught up.

8 hours ago, jngnz said:

SSD5 = a toy

I hope you're not saying that because in SSD5 you have to mix the drums yourself as it doesn't come with effects and such ready in a mixed setup. Cause the other three allow you to do that but they have a vested interest in your using their presets instead.

6 hours ago, dubdisciple said:

I am really hoping the SSL acquisition leads to a better marketing strategy. So far they have relied on 1) questionable claims about "analog" that have lead to unprofessional exchanges with people  who call them on their inaccuracies . 2) repeating same line about hits made 40 years ago, which kind of implies people stopped making hits with their products. That may not be true, but you would think they would mention music from this century more often.  

I don't think SSL is very good at marketing strategies which don't involve selling yet another version of a 4000, 6000 or 9000 console EQ or their bus compressor. Much like how API was reduced to two EQs.

I don't think such a tool exists, at least not on Android. While modern mobile devices are powerful enough to have DAWs and other DSP related tools, touch based interfaces in general are not as precise as keyboard and mouse coupled to a larger screen.

Roger Lynn's Linstrument is cheaper and not locked to a specific DAW or workflow. It's also completely cross platform, as all the configurations for it are done on the controller itself.

I listened to the demos and there's no sounds you can do on this synth that you can't on any other subtractive synth out there.

4 minutes ago, balinas said:

On the steinberg site, the upgrade from 6.4 to 7 is listed at $99 for me.  

Anything cheaper anywhere else?

Version upgrades for Steinberg products are usually not free. Assuming the licenses carry over, you could use the free Halion Sonic SE version to load your Halion Sonic libraries.

Does that mean they'll only call themselves "Baby" from now on?

This is a nice one to get. Granted, I grabbed it when Arturia first offered it for free.

That's a nice way of artificially inflating their user count for prices that may not even be that impressive.

21 hours ago, gustabo said:

Lol! Go for it!

If you find a bug, report it, if you have a suggestion, post it in the Feedback Loop…

I'll glady report you that there's at least FOUR instances of threads in this very forum either asking if this feature exists in Cakewalk and how to use it or suggesting it because other DAWS (Like ProTools, Cubase and Studio One) have it. Plus it's a very convenient feature to have.

On 5/20/2023 at 11:47 AM, John Vere said:

Ok I now actually get it. Selecting “ Entire Mix” should ignore any highlighted tracks. Only selecting “Tracks” should export stems.  
I guess we learn the work around and don’t even notice we are doing it.  

I think the best definition of what "Entire Mix" should mean comes from the tool tip of the preset itself:

"Exports audio as heard through the main output as a single file."

17 hours ago, Esteban Villanova said:

The DAW is for recording, not for composing.

Stretching that logic further, you should never play your instrument in that context, as instruments are for performance, not for composing.

One of the things I for certain would never pay subscription money for nor use as music streaming services like Spotify. If you take a look around, it's not difficult to see how little Spotify cares about the people producing what makes them money to the point there are several cases of people having to go to court because they only found out Spotify put their music there without their permission once, being paid a pitiful sum of money for millions of reproductions (Peter Frampton at one point tweeted a royalty statement from Spotify where he received 1000 pounds for 55.5 million plays of one song of Frampton Comes Alive, which is perhaps one of the best selling live albums in history) and having all the stuff you gave no permission to be in Spotify back there after 18 months, on top of more popular artists getting most of the money you paid for rather than the stuff you're actually listening to. And this is one of the reasons Spotify is heavily invested in AI, as that would solve one of their primary problems as a service, which is having to pay artists.

12 minutes ago, Carl Ewing said:

NI / Komplete have always had EXTENSIVE preset databases in all their instruments. There are literally 1000s of presets inside Reaktor across all their Ensembles. Always have been. 1000s of presets for Absynth, Massive, FM8, Battery and on and on. You can hear these presets on 1000s of albums (in dozens of genres), and in 100s of tv / film / game scores, by some of the best song writers, producers and composers in the industry. Kontakt's ginormous factory library has also always been jam packed with presets.

Presets have always been integral to modern music, going on 50 years now.  Notorious talentless slackers (hehe) like Phil Collins, Miles Davis, Herbie Hancock, Gary Numan. Queen have all used them. Some of these presets are iconic to disco, pop, rock, jazz, latin music. Some presets designers, especially for classic synths and drum machines are legends in the industry. If you've ever used Omnisphere, then you're listening many patches designed by Eric Persing, who's presets are a staple of music from the 80s (jazz / jazz fusion, pop, world music, hip-hop, etc.). Guys like Howard Scarr are critical to Hans Zimmer's scores, and other patch designers are critical to some of your favorite artists.  

Also - just as a rant - if you go to a store and buy an instrument....you're using a preset. You didn't build the acoustic guitar. Or the drum kit. Or the piano. Or the violin. You're enjoying all the wonderful engineering & craftsmanaship of someone else, and paying for the privlidge of using their sounds in your music. Nobody faults a music producer for not building the instruments in his studio. And nobody faults Stevie Wonder for using the Horner Clavinet Model C on Superstition, which sounds exactly the same in the song as it did when it came home from the store.  It's no different than pulling up a preset in Omnisphere. 

None of that makes anything I said less factual, though.

13 minutes ago, Carl Ewing said:

Presets don't allow you to make or produce great music. For the same reason that buying a $50,000 guitar ain't going to make good music for you, even though it sounds incredible right out of the box...with no effort on your part.

You're missing the point and once again, that doesn't make what I said less factual. For as much as you have people that make use of said presets as a means of a specific sound that caters to their vision of what the music should sound like, you also have several people that want a sound they don't have to make fit into whatever music they are composing or add design elements around. Neither approach is right or wrong. What NI is doing with their Play series stuff caters to the latter more than the former and that's my point.

16 minutes ago, Carl Ewing said:

Relax about presets. Relax about loops as well. The greatest artists in modern music use them for a reason.

At no point I was ranting about presets and didn't even mention loops. Much like you felt like explaining me the value of presets, I felt like explaining why NI produced these products in the first place, because they're are more than "just presets."

44 minutes ago, aidan o driscoll said:

I did mention the forum. But also possibility of a purpose built seperate section at the website specifically for us to offer each other music services either a place where people can look for services and list same and/or offer services. In website parlance it would be a directory type facility .. the ebay type thing or donedeal, but simpler

At the current moment, the most active place for Cakewalk is the subreddit.

1 hour ago, gustabo said:

So find something that better suits you.

Likewise. Complaining about people just wanting to voice their dissatisfaction with their tool of choice or aspects of it changes precisely nothing. Should I start complaining about you instead?

Well, after some tinkering and a few irks with how the FX Chain plugin works, this should give you more or less what that plugin does.

HarrySon 64C Very Incompetent Plugin.fxc

10 hours ago, satyabrata satapathy said:

That we can find in manual

You actually can't because all that text from the product page is a verbatim copy of about 80% of the manual.

2 hours ago, gustabo said:

With everything you complain about, it's a wonder you haven't switched...

Without deviation from the norm, progress is impossible.

1 hour ago, Michael Richards said:

I need to combine tracks of one project with another project. I’ve done this in the past, but I don’t think it was the best method possible. Any thoughts on this?

michael

This problem will not have  an elegant solution until Cakewalk allows us to do something you can already do in ProTools, Cubase and Studio One, which is importing only certain elements of a project into another.