Bruno de Souza Lino

Another way of solving that problem is hitting that Uninstall button and going back to 4. I feel like IK is having marketing lessons with Behringer's PR department with shipping those half working products.

What's so special about a reverb plugin with 4 presets?

Too heavy on the CPU. Had to pass.

The only thing that will go wrong is your system will see which stick has the slowest CAS latency, timings and clock speed, then set all the others to that. The vast majority of modern sample libraries make use of disk streaming due to the very large file sizes on samples. In many instances, having a fast hard disk or SSD yields more benefits.

Well, maybe they run out of Presonus Eureka racks. I remember quite a lot of people that recounted visiting GC for whatever gear purchase being offered those.

Module wise, Five Fish Audio has some really good quality modules, API VPR certified and reasonably priced. You can buy all of their modules as DIY kits too, if you want.

That feature is clearly aimed at the Logic Pro crowd, since their score editor was unbeatable for many years and...for some reason no other Windows DAW cares about score quality.

The only change I saw from version 2 was finally them realizing that nobody is gonna pay to have VST plugin support and MP3 encoding as an add on and got rid of the Artist and Producer versions. All the arranger features look nice (I haven't had the chance to use the new versions for anything significative) but the plugins seem to be getting worse. If you are on a bit more modest machine, the new Ampire is unusable. Even the new AT5, slow as it is, performs better. I was gonna upgrade to version 5 but their online store didn't accept my debit card. Then I took a look at Cubase Elements 11 and that looks like a much more attractive upgrade that would only cost me 50 EUR from the version I am now.

I looked at Thomann and wow...They want 459 EUR for the small version and 749 for the larger one? The Modal Argon 8X and the Korg Wavestate are cheaper than that. You can even get an ARP 2600 reissue... I made sure to not compare it against products from Behringer because of past counts of corporate tribalism but...You can get most of their synths for less than that too.

I think SSL is suffering from a fad you see a lot of old companies doing, which is thinking their brand name and history is all it takes to carry a product these days. this is similar to that awful movie made to capitalize on a certain plumber character from that Japanese games company. They started doing this with their Duende Native plugins, which were one of the most expensive plugins at their time at 5 grand. Then comes the Console 1 partnered with Softube. Interesting idea, except you're paying over 500 bucks for each controller with a ton of limitations and lack of flexibility but, hey, they're emulating those classing SSL consoles records were made on, right. Then comes the SSL SiX. Hard to place, hard to sell at 1500 bucks, but at least you're having the modern SSL preamps nobody cares about and the G series bus compressor without any control over its parameters. Then this shows up and the only thing SSL about it is the expensive price and brand name. At one point no one will remember about the brand anymore, then what do they do? They're doing a shoddy job carrying the torch around and eventually all people that know about their brand and history will die.

Well, the bits that sort of matter are at the end the jerseys don't cover...

Don't feel sorry. Cubase hasn't updated theirs either. And both look strangely similar in both lack of intuitiveness and functionality.

Nothing. The offered stuff is not what I want and they can't be offset into something else.

While I can reorder and determine the distribution of stuff in the control bar, the same cannot be done with the other elements. I've tried multiple times to move things like the Inspector to other places, save the screenset, then it returns to its default position once you create a new song. Or things like making the Inspector and browser a single pane thing. I don't have enough screen real state and want those to take the least amount of space as possible.

Pyschoacoustics says otherwise. The more experience you have, the more scrutiny you have to use, as you can easily fool yourself using it. You see that at a lot of time. People believing in tone woods, fancy dancy cables, amp mojo and so on. I don't think so. The behavior and operation of tube amps has been decoded and understood since people started replacing MOSFETs with pilot lights with MOSTFETs. The former is the funny name some engineers call vaccum tubes. Digital has pretty much all of the characteristics of analog with none of the drawbacks. And you can also dial in the drawbacks. Many plugins allow you to even go down into the minutia of changing transformer response, tubes and so on. A modern example of that is Positive Grid's BIAS Amp 2. Which means any amp can do the Trainwreck sound, since "any part can go in there due to the circuit's forgiveness".

Reason: All the new Weiss plugins have been cracked along with Console 1 and all its extensions.

Well, the plugins are on the expensive side of things.

I think the main question still is... What makes the desktop version of this better than the Arturia Micro freak? The Microfreak is 50 bucks cheaper and has polyphonic aftertouch.

It looks like their marriage with Softube (remember the Console 1?) didn't go out so well. And they weren't sure if they should copy the Faderport or X-Touch, so they made a mishmash of both. As @msmcleod points out, who knows what market this product is for. It's too expensive and has less features. Heck, you almost start getting into digital mixer territory for that amount.

Only worry would be this causing an issue Ableton is known for: it constantly indexes its folders and places it reads and writes to just so you can do searches like that. That often results in performance issues.

Mice have been accessories since their introduction in the 50s. Blind people usually navigate entirely using the keyboard. You'll see that very few DAW support multi touch on that level, simply because almost no one uses it. You're going from having little tactile feedback with the mouse to zero with a touchscreen. It could also screw with screen reader software, making visually impaired people unable to use it in some cases.

I also had a similar issue with automation envelopes. In some instances, moving one automation will move others with it.

I have high hopes that this subscription model kills most of the market. Eventually, you won't even own the hardware anymore.

You can also offset that by replacing your entire GApps with OpenGapps pico, which only contains the necessary stuff to make the Play Store work. That way, you can choose which Google apps the phone should have instead of all of them.

It could be that MOTU interfaces are as good as anybody else's but... Did you know that the only way to install Digital Performer is to roll back your clock a few years because MOTU's certificate expired and that's an official solution?