Bruno de Souza Lino

Surge. Does subtractive, FM, Wavetable, well documented....And it costs nothing. If you're talking about paid ones...ZynFusion. Once you learn it, it becomes this extremely powerful synth that you can do almost anything with...On top of costing 45 bucks.

52 minutes ago, Royal Yaksman said:

Yeah the Cubase forum is definitely a schizophrenic experience. Sometimes they are helpful. Other times it seems like they need to rapidly lose a few customers to flip the books into a negative for a tax break or something?

I find ironic that you have to ask for download links to thinks like old versions of Cubase LE (I have version 4 registered, but don't have the disc anymore). They did send me a link but having to ask is a bit of a wall, especially considering they give you full downloads for things like Sequel 3, VST Classics and so on.

On 1/5/2021 at 5:47 PM, Lemar Sain said:

Funny how the they leave expired freebies on the page just to make you feel bad if you missed something. LOl😆  It must really suck for someone who just discovered the page.

Even funnier is how they put plugins that were always free on their page as free deals to make you think they have more free deals than they actually do.

18 hours ago, LAGinz said:

Interesting-actually patented.  A bit different than Gibson and Fender, who’ve gotten over 60 years of marketing invested  in the terms “patent applied for” and “patent pending”. 

Those terms simply means they applied for a patent and that a patent is being considered or analyzed by the patent office.

Welp, since they have a patent, now everyone can copy their technology, as you have to describe exactly what the thing does in the patent.

I will consider it when they give all the plugins, like Slate Digital does. That small selection is not enough to do it, especially considering there are free plugins that are better than Waves ones these days, on top of not adding extra latency you didn't request.

5 hours ago, 53mph said:

Does it work outside of the Harrison daw?

Yes. Even though Mixbus is just Ardour with proprietary Harrison stuff on top.

Edit- The installer installs all AVA plugins btw. They are all fully functional with the unregistered ones popping a nag screen every few minutes or so that you have to click to continue demoing it. Sound doesn't stop or anything like that.

They did a sort of free string library before Spitfire did their BBC Discovery product. Let's hope that it is more stable. I remember being unable to use the string library, as the plugin would crash and take the DAW with it second after being opened.

15 hours ago, Jim Roseberry said:

Just picked up a Badlander 50w head.

The onboard reactive-load and CabClone IR sound excellent.

Lots of features and versatility... and not over-the-top cost wise

 

It's always a little sad to see a heritage company merge or get bought.

Of course the Cab Clone IR is great. It was licensed and built by Two Notes (the guys that make the Torpedo stuff). The first Cab Clone was almost unanimously disliked for sounding like crap.

In no particular order:

- Uli Roth's Sky Overture.

- Devin Townsend's Why.

- The '96 G3 version of Steve Vai's For The Love of God.

- Faith No More's cover of This Guy is In Love With You.

- The final solo on Dream Theater's Octavarium.

- Tommy Emmanuel's Old Photographs.

- Jon Gomm's Passionflower.

- Racer X's Viking Kong.

- Symphony X's Charon

- Joe Satriani's Premonition

- Camel's Dust and Dreams, Harbour of Tears and Rajaz.

- Gentle Giant's Three Friends.

- Genesis' Cinema Show.

That's what comes to mind.

Your listening position has to be treated symmetrically, otherwise you risk introducing different problems rather than solving them.

As per foam, it's good if your space is only intended for voice over.  They do nothing for low mid and lower frequencies, which are the problem in small rooms 99.9% of the time. If you are a crafty individual, you can make your own bass traps and they will perform about the same as most commercial offerings out there.

You should pay extra attention to the room, as that is the only effect in your toolbox you can't bypass.

13 hours ago, razor7music said:

I'm glad I'm not the only one who sees this acquisition as a potentially bad thing.

I love Boogie amps. I wish I could afford a new one, but my used DC3 does the job.

My initial concern when I saw the news yesterday was that I hope Gibson doesn't drop Boogie on its head like they did Cakewalk.

Was Mesa Boogie in financial trouble? I know what the press release says, but that's always the glossy front a company spins to make everything look good.

Anyway, I know this forum is more light-hearted and punny, but just wanted to share.

I worked a bit for GC years ago at a store that carried Boogie. Boogie wouldn't allow discounts, no exceptions. They were the only vendor that did that.

My dream is Boogie amps keep their unique quality and their prices go down, a lot. Shh, don't wake me up!

Mesa has been in a hard spot recently did to their aggressive stance on criticism and overall lack of innovation in face of an ever increasing amount of amp manufacturers offering what they make for less and at equivalent quality. As a side note, they shouldn't have released their 3 channel Mark IIC+ as a John Petrucci signature model. That limited the scope of the product and made many people go somewhere else when what they were looking was the product the JP2C is. There's also the Cab Clone inside mentioned earlier and their overall stance on criticism mentioned earlier. You could also argue that discontinuing certain affordable products left them striped for cash. The vast majority of working musicians can't afford to maintain and ship those huge heavy amps and are either going smaller or digital, two things Mesa stopped offering. Sure, there was the Badlander, but the timing was a bit miscalculated, considering the amp is essentially a EVH copy and was released shortly after Eddie's passing. You can't sustain that model forever. Look what happened to Dean trying to live off Dimebag Darrell, his legacy and death.

20 hours ago, Wookiee said:

Is the guitar real of a VSTi?  Mix and playing wise it has a certain lose feel to it like Chicken Shack.

All the guitars were recorded and played by me.

Good riddance. They've been in a steady decline in face of new market offerings and their aggressive behavior of blocking and going after anyone that criticizes them, rather then dealing with it in a professional manner has left a bad taste in the mouths of salespeople and consumers.

On 1/5/2021 at 9:32 PM, Olaf said:

it's something that looks analog, it's got the consoles - for now neve and api, but uad already have ssl emulations, too, and among the better ones, so that's probably gonna be in there, too - it's got the tape, and i've heard it sounds very well. it's free with uad apollo interfaces - and some others - and i believe it's paid if you don't own one. but it's only for mac, for now. well worth a look into the workflow, i believe.

https://www.uaudio.com/luna.html

I wouldn't put money on Luna in the near or far future. It wasn't made with intent of being a new competitor in the market, but rather a very basic tool made for UAD owners by UAD owners and hopefully will drag new users into their ecosystem.

4 hours ago, RexRed said:

I find that my ears tell me it sounds great then when I fix the correlation trace phase it sounds better. Then when when I A/B it, the unfixed part usually sounds boxy and artificially expanded and way too wide. I never trust my ears, I only trust the correlation trace. Once I know it is within the bounds then I use my ears.

Just like I never use EQs that don't have spectrum analysis.

I need to see it too, so I can verify for sure. That is like saying well, it looks like about a foot long, no, I get a tape measure and check it for sure...

Also now I check my effects busses to see that they are traced. My effects are more often then not out of phase.

I used to just put reverb and delay in the track bin, Now I use sends to buses and only use parallel effects so I can correct the trace on them too.

Then my master mix bus does not go into the red at various odd points.

Didn't your ears tell that it sounded gorgeous before you spotted the phase issue in the meter?

51 minutes ago, Barry de Roode said:

Thanks for the responses, it helped a lot!

This is what I did (I copy pasted from the answers):

• Location of Cakewalk Projects. The new computer has 2 HD's: a SSD with the operating system & programs and a SATA for data. I experimented with the location of the Cakewalk projects and it turned out that putting them on the SATA drive performed better (counter intuitive, I know)
• Boost the CPU. There are several ways that achieve the same result: 
  • Start + run "control powercfg.cpl,,1" (without quotes) and set CPU Min and Max to 100%. 
  • Set the power plan to "High Performance power plan"
  • Note: I did not have any settings in the BIOS to alter
• Tune Cakewalk.  In preferences | Audio | Configuration File adjusted the following:
  • EnableSetThreadIdealProcessor = False 
  • MixThreadCount = {number of cores minus 1}  (This really made the system run smoother)

All together it makes my new system as good as my old. Still wondering why it isn't much better, but I can live with the result so far.

I wouldn't count much on boost clocks. The advertised boost is only for a single core out of the 8 you have. The 4770S boosts lower, but his base frequency is higher. 1 GHz higher.

Good riddance, I say.
Mesa had gotten a really bad reputation in the recent years for blocking and going after anyone that criticized their products. If some of you are not aware, there has the infamous Cab Clone incident where Anderton's (who is an authorized Mesa dealer) did a video about the Cab Clone and were honest about it saying they didn't like the product and that it wasn't very good (because it was a piece of crap). What followed was Mesa demanding Anderton's to take the video out and redo it displaying the product in a positive view with a Mesa demonstrator under the threat of removing the store from their list of authorized dealers. Not agreeing with that (Lee never hid the fact that Mesa did this and even posted comments on the new video explaining the situation), they did make the new video with the demonstrator. After that and many criticisms, they released the second version of the Cab Clone which, surprisingly, was made by Two Notes, not Mesa.

9 hours ago, craigb said:

From an intellectual stance, I know a person can realize a much larger range than is usually specified (20 Hz to 20,000 Hz); I even have devices I used during my PhD work that go up to 100,000 Hz (like an Echofone Ultrasonic Listening System first created to attempt to communicate with dolphins).  Although you may not consciously hear frequencies outside of the usual range, we found evidence that a person IS getting some benefits, primarily in the accelerated learning area.

I heard a similar argument about harmonics a few years ago on Gearslutz. Sure, some frequencies outside the hearing spectrum can be perceived in other ways. Music is something that was invented and developed as a product to be heard. Not watched, not perceived some other way. So, anything that goes beyond the audible spectrum either way is unnecessary, IMO.

I believe TH3 also has a looper function.

Only issue I am aware with MODO Bass other than the one described by the OP is that the plugin doesn't honor CC 64 properly. Even if you're holding the key or have the note held in the clip, letting go of the sustain pedal or turning CC 64 to 0 will immediately make the note stop ringing.

16 minutes ago, Sidney Earl Goodroe said:

Disappointed that the Leslie cabs in A4 do not carry over to A5!!! I do love to use that Harrison-Clapton swirl from time to time. I hate to spend more money but I guess I'll have to purchase a Leslie in the Custom Shop for A5.

Kinda bites when A4 had 2 to choose from.

That's a bit of an oddity. They should. I'd complain to IK about it, considering their statement that all purchases carry over across versions and they were even eager to give people that bought 4 MAX a version 5 with everything during the pre-release period.

5 hours ago, ilir bajri said:

Thank you for taking time to try them and for reporting problems and for your critique. Will loook into these.
 

Ideally, you should be shooting for a contrast ratio of at least 4.5:1 as determined here https://www.w3.org/TR/2008/REC-WCAG20-20081211/#visual-audio-contrast-contrast

On 7/4/2020 at 4:00 PM, Starship Krupa said:

My usual practice is these days to load single-hits into software samplers to make kits out of them, assuming I'm going to use them multiple times per song (usually the case with drums/percussion). This would be triggered by MIDI.

So to answer your question, I sometimes use samples loaded into a VSTi, a software sampler.

As for which way I do it, it kind of depends on how many times I'm going to use the sound in a song, and how. I've downloaded sample libraries that contained individual drum hits and turned them into drum kits by loading them into VSTi's, following the Standard GM mapping. I sometimes like to trigger clips of spoken dialog, and I will sometimes also load those clips into a software sampler instrument to be triggered by MIDI.

I took an online course in EDM production, and for the initial instruction in "beatmaking" the instructor had us use the sample content the other way, though, by dropping the individual hits in as audio clips on tracks in our DAW's, using the copy and paste features to repeat the measures.

This allows for greater flexibility as you may then use whatever clip editing features are available in your DAW to work on the clips before you start copying them. Fades, gain automation, envelope automation, filter automation, etc. Of course, some software samplers have those features, too.

It can also matter how well-edited the hits are to begin with, if you need to work on them at all before using them in your beats, adjusting gain, envelopes, or whatever.

If you find yourself with samples you regularly need to do work on, then get good at using them as clips. If it's faster and easier for you to think in terms of MIDI notes and drum machines, load 'em into a sampler.

I feel like this is is the equivalent to "eating a 1 pound steak versus 100 pieces of shoe leather." The feeling of accomplishment is much greater after eating the shoe leather.

There's a lot of things I'd buy from PA even without the voucher, just discounted but...No money. Can look, but not touch.

8 hours ago, jack c. said:

nice recording job and chord changes quantize snare kick.jack c.

Maybe the humanizer settings are a bit too extreme on DrumGizmo.