Tim Smith

No issues here either. I'm not usually that lucky.

Until recently I didn't know how easy it was to re-cone a speaker. Not sure about Bapu's tweeters. I would probably look at a replacement tweeter. I used THIS company for my parts. They have plenty of YouTube videos.

The tweeters shouldn't be a problem. You're a bass player right? ?

Thanks @abacab I guess I should have figured out the 'V' was 5...so does that make V8 version 58? ?..Again thank you. I like the sounds I have in version 5. I have a load of synths in this version. I was slightly surprised there were more to add. I have the full version of IK Syntronic which is a close runner. I also have Roland hardware. The Moog is my main thing in the collection. I guess we all probably have lots of synths hanging out on the deals forum. I also remembered I have the UVI Synth Anthology. If my update was 99.00 I would probably go for it still.

I guess if you only recorded 4 tracks..............

This was the offer I had, but my V collection is pretty extensive. I wish Arturia would be more specific in helping to identify which version we have. As it stands I'm pretty content with what I have. I just don't know what it is.

Thanks for the FYI James. I have a product called Analog V (see pic). No generation number is selected.I checked out the email and I qualify for the deal. I was playing with Analog V and it has lots of settings for all of the major hardware synths. Do you know what improvements upgrading would add if any?

I got rid of an old snow blower with a free sign on it. It ran and worked but was old. Kinda like me.

Can somebody help me? I tried her moves and I can't get up.

It does. The only drawback is you look like beef jerky. Coke helps too because nothing else wants to live in your body.

Not a fan of subs either. It seems this is what the world is coming to now. I have said this before too, but I fully expect Cubase to go to this as an alternative in the future. Might be a few generations away from it. Presonus offer a pretty good package with their sub which translates to a value for many who would never have bought other programs and libraries, but like having them around. Cubase could come close in offering several of their full software programs in a sub. I personally won't buy an S-1 sub so long as I can get a upgrades to successive generations for a decent price. If they offered ONLY a sub I doubt I would continue to upgrade since I don't use the DAW as much. I like having a serial number on file that says I own it perpetually.

At this point I believe Steinberg have most of the bugs worked out of their new licensing scheme. But yeah, you probably missed a lot of headaches. I never totally liked the idea of dongles either. Way back before Korg went to online licensing I received a syncrosoft dongle in their M-1/Wavstation package as a part of that package. Dual purposed it for Cubase when I bought it. Same dongle. iLok is a different setup with a different company. I have iLok too. I like that it lets me move my licenses to another computer or save a lot of issues if my DAW goes down. I also have my Waves licenses on a USB thumb drive. None of it has ever given me any trouble. The good news is the dongle is a thing of the past with Cubase and you can put it on three computers with the same license. Cubase is still retailing at prices much much higher than most DAWs. 3 bills for S-1 and between 5-6 bills for Cubase. I complained about that for a long time. I still think it's out of touch for a lot of people. I found a deal on Cubase and frankly that's the ONLY reason I own it. Even though I have the $$ I was determined I would not pay that much. Maybe I'm cheap? Maybe I'm different than most users. I tend to go back and forth on DAWs depending on what I'm trying to do and that has never been a problem for me. If I had a faderport I would probably be using S-1 a lot more. As it stands I use other hardware midi controllers. You can perform many of the same functions in all DAWs, but not all are as intuitive on some things, for midi I prefer Cubase.

If I don't want to bother selling it and can't justify keeping it, I usually put it out front with a free sign on it. If I had seen those out front for free I would have probably had an accident stopping for them. I'm getting to the same place with a few of my things. My old studio desk will probably have to go. It's just too large. If I lived in LA I could probably command a decent price for it. I live in Amish cow country. It was expensive to have built.

Well yes he looks old because he is old. I probably would not have recognized him if I didn't know who he was. He had a good run though and sold a lot of records back when you could sell records and make money. I guess there is a time to step back, enjoy your accomplishments and do something else. I'll bet he could still work a DAW.

I find this to be the case as well with any other DAW forum. I once went to the German side of the Cubase forum. You wanna see sparse go there. "HALLO!" "irgendjemand hier?" Oh there's Riginakld come back from yodeling in the mountains! Seriously though I guess we are all a little different. I still use both Cubase and Cakewalk which says a lot coming from a guy who once had very little good to say about Cubase. I need to stop cutting on Germans as they put out a very nice DAW. Some of that DNA came into Studio One- Gifted German coders also. I wish I could say I use Studio One a lot. I don't, but I'm very glad to have it. Can someone tell my what makes it their favorite? I see it as utilitarian and mostly solid. Mastering section rocks. It seems to do everything almost anyone needs it to do. The bundled plugins are very nice. The bundled instruments, no so much. I wasn't overly impressed with the midi functions. Passable. I think Cakewalk has better midi implementation, so this DAW feels more like it was made for a live player who wants a DAW. Integration into Presonus gear is nice, especially faderport.

I'm not as familiar with the other guy but Jordan can imagine any genre within 2 seconds and be playing an A game rendition of it, all made up on the fly of course with a precision seldom seen anywhere else. His hands are fast, his recollection of anything in any key is comparable to a walking music library. Dream Theater probably never pushed his abilities. I wanted to see him break into something else. He could have killed it in the classical world and probably made better money or done well as a jacked up sort of progressive player pushing new boundaries. His love of keyboards and knowledge of how they work is unique in most at this level. On another level I'm a little sad for Jordan as a man who's music is his life. Never married, never really did much else other than travel and play. Not everyone would have liked living like that but he seems content in it. Not having these attachments is one of the things that allows him to be so versatile to go somewhere on a whim, play in a well known band, promote new music gear etc.

For final limiter plugins I have a few favorites. Limiters TR5 ONE- This is in the TRacks toolbox. McDSP ML4000 . This one takes a bot of learning to get right, but once you get it, it's amazing. An old standard used in many Hollywood sound tracks. PSP Xenon- This limiter has a nice clean personality and doesn't color the mix, yet it can really boost. There are also a few DAW based plugins I sometimes use. While Cakewalk has some good limiters, I am preferring the new limiter plugins in Cubase. FYI you can drop a 3rd party limiter into Ozone and TRacks. I learned a lot looking at the various chains and it's amazing how simple some of them really are. Adding 'air' is generally a few db boost from say 3K on up the spectrum. Adding 'clarity" is often some subtractive EQ and a multi band limiter. "Old vibe" just throws some tube dirt into the chain usually. If you have 3rd party mixer emulation or use Cakewalk's console emulation this will contribute to that feel.

I was playing with my MKII 61 last evening and discovered the same feature that exists in many DAWS. I simply right clicked on a control in Cakewalk, selected learn and moved the control to map it. Since I only mapped a few controls I'm not sure how extensive this is. I was using Manual mode in the Arturia when I did this. If I save a template in Cakewalk for the Arturia it should save my mappings. This is provided I don't change the internal programming in the MKII using Arturia's software midi mapper. It doesn't appear the Arturia site gets many visits from those inclined to know the gear and instead they rely on people in a forum who often comment on equipment they don't own, so I'm not getting much love there. In Cubase 12 the MKII is sending put panning messages to my number 1 track in Mackie HUI mode when I'm not panning. It just sends out a "pan hard left" message. Everything else works just ok so far. I attempted to get the same random midi transmissions in Cakewalk's midi event manager but for some reason it isn't picking up midi data. If I can identify it I can at least filter it. The keys on the MKII 61 are decent synth keys. They probably would not make a professional pianist happy. The 88 key version is said to have weighted keys. I have not tried that version. The jury is still out for me on the effectiveness of midi controller keyboard .vs simply using keystrokes and a mouse. I mean, I can use a key stroke to rewind as quickly as I can push a rewind button. For me the perceived benefit is more at the mixing stages because using a fader or knob is far superior to using a mouse , especially when writing automation. For transport control and simply playing midi data in, I can get by with decent keys and my mouse/computer keyboard. The processes that tie together several steps in software would be helpful which is why I was excited about Cubase 12 new midi editor that lets you tie many more functions inside the DAW than most and build your own controllers mapped to anything. I'm not sure if I can tie it all to the pads on the MKII. If I can I will be pretty hyped about that. Cakewalk's ACT can get you there too aside from the bugs aslow mentioned. I found ACT to be much less intuitive. Aslow is a natural at computer programs. I am not. I have to work at it.

Did they invent the internet too?

I wanna face palm but my face isn't big enough.

The fun is over?

Teething doggies gonna chew. Once they outgrow it, you shouldn't have as much of a problem. I have found that with my two, if they aren't bored they are not as destructive. If I come home late though, they protest. That's when I'll find a doggie bed in the middle of the floor with the stuffing pulled out of it. They also go in places they know they shouldn't. This is all in protest. Their statement to me. They are pee ood.

This means it wasn't the right time. I don't think cancellations are mistakes. Hang in there.

Music really is tough to make in modern DAWS. It's a royal pain looking for just the right loop professional musicians played and recorded and trying to decide between the 500 instruments at my disposal, and those mastering presets...what a pain trying to decide. Too much trouble to go buy a microphone and figure out how to put sound in there. Now, where's my binky?

This is also what it reminded me of. A theremin. Some decent midi controlled synth patches and man, he might be onto something.