Starship Krupa

At least it's nice to know that it works pretty well.

You might get better responses if you typed out MIDI Guitar 2. I had to Google to see what you were asking about. I'm not familiar with the product at all, but with other virtual instruments that support multiple audio outputs, you select All Synth Outputs when inserting the instrument:

Keep in mind that those are suggested specs. I've run the early preview quite successfully on my Dell laptop with a 2 core i7-7600U. I do have hyperthreading enabled so it appears in Sonar to have 4 cores. In comparisons, I haven't found it to be any more resource-hungry than CbB, which I have run successfully on a Core 2 Duo system with 4G RAM. It very much depends on what you're doing and how you use it. Obviously, with a Core 2 Quad, you can't can't run a big pile of resource-hungry mixing plug-ins and/or VI's without doing some bouncing and freezing. So, not to worry, if CbB runs fine on your system, Sonar should run fine as well.

The new look is, at this point, mostly just that, a new "look." The point of doing it is to lay the groundwork for enhanced scaling support and future enhancements. At first glance, the new look is basically similar to using a custom theme in CbB. Everything still works the same way, everything is still in the same place, it just looks better and scales better on higher resolution displays. My hope (and expectation) is that in the not too distant future (next Sunday A.D.?) we'll see things like being able to stretch different elements of console strips to (for instance) give a longer throw on the faders. But yes, as others have said, it's important to know the difference and distinctions between Next and Sonar. Next is a whole new program entirely.

Also, when exploring Analog Lab banks, one of the things I've discovered is that many of them make use of aftertouch, which seems to me to be little-used in other synths.

Oh man, Past To The Future is SO much fun. It's a collection of sounds from famous songs: CMI V : Art of Noise - Moments in Love DX-7 V : Berlin - Take My Breath Away CLAVINET V : Stevie Wonder - Higher Ground Mini V : Kraftwerk - Autobahn Modular V : Emerson, Lake & Palmer - Lucky Man CS-80V : Vangelis - Blade Runner Blues ARP-2600 V : Jean-Michel Jarre - Equinoxe 5 Prophet V : Kim Carnes - Bette Davis Eyes Jup-8 V : Duran Duran - Save a Prayer SEM V : Doobie Brothers - What a Fool Believes Wurli V : Queen - You're My Best Friend VOX Continental V : The Doors - Light My Fire Solina V : Joy Division - Love Will Tear Us Apart Matrix 12 V : The Orb - Little Fluffy Clouds Synclavier V : Michael Jackson - Beat It B-3 V : Booker T Jones - Green Onions Stage-73 V : Led Zepplin - No Quarter Farfisa V : Pink Floyd - Set The Controls For The Heart Of The Sun Piano V : Mungo Jerry - In The Summertime Analog Lab 3 : Yazoo - Don’t Go I'm nutzo for noodling around with stuff like that, just for fun.

Well, TBF, they do allow us to at least preview some of the patches via Swatches and the demo tunes/walkthroughs. But yeah, Strum is about the only one that can be relied upon to do what it says on the tin: modeled guitars. I really wish they would do a dedicated drum instrument rather than putting all these kicks and snares and hats in various soundpacks. I don't want to have to put 3 different instances of Player in a project, so the alternative is of course to just sample whatever kick or snare I want. Still, I'd love to see what they could come up with as far as modeling other drum and cymbal sounds. Their engine seems to do metallic really well and some cymbal crashes might be great.

Ahh, yes, for convolution.

Not sure what you mean by that, but I finally did find Beat via Libby newsstand and snagged another pair of soundpacks to add to the bestiary. If you're referring to data collection, well, no, I'm not going to search Libby for anything that would flag me with the NSA. ? I also noticed that Beat has freebie lite versions of Chordjam and Speedrum that are worth picking up. It seems to be exactly similar to Speedrum Lite but comes with a useful bunch of samples and pre-rolled kits. Chordjam is a good thing for fans of MIDI generator-ish plug-ins. Those seem to be dropping left and right these days, I have Loop Engine and now Chordjam Beat but will be letting the smoke settle before looking into any more.

From the ads, it looks more consumer-y than Vegas Pro. Which may not be a bad thing, but every time I try something that's in that vein I get annoyed by the step-by-step handholding they all seem to have. I want to open to a clean, ready to edit interface, not a "friendly" series of screens asking me to add clips, etc. It makes me feel like I'm filling out forms at the doctor's office.

I'm most concerned that I may no longer be able to regularly update Vegas Pro via Humble Bundle.

I picked up both Drumazon and Sigmund as either PB freebies or magazineware. Another reason to be fine with kicking them a few dollars.

Iris could actually benefit from some simplification, IMO. ?

I wouldn't have picked up Trash 2 if it hadn't been part of a very nicely priced bundle I wanted. That said, it's a classic effect and it never hurts to have something like that on hand if someone I'm working with wants a destroyed, abrasive NIN sound on some element or other. As a crusher, it's the crushiest, and it doesn't hurt that it has those modulators. It looks like they're taking a cue from what AIR did with Hybrid, Vacuum Pro, and Drumsynth 500: flatten the UI and remove features. Makes me wonder if we'll be seeing a Break Tweaker 2 with a similar approach (and which I would also pass on, though I love Break Tweaker).

Warning: I went to CAD's page on it and the downloads page only had a spec sheet. That means no ASIO driver unless I missed something.

Really though, how far is a discussion about a product derailed by talking about whether it's worth the money to upgrade to it from an earlier version and comparing the company's upgrade policies to similar companies'? First glance review: I coughed up the $19 for Sigmund 2 and consider it a worthy purchase. The factory presets for Sigmund have always been strong, and there are way more of them. In an existing project where I was using a Sigmund preset, I swapped in Sigmund 2 and had no trouble locating the same preset in Sigmund 2, so either they are compatible or they went to the trouble of duplicating the sound of the old presets in the new product. The visual arrangement of the modules is clearer as far as signal flow. The UI is now resizable and there is a VST3 version. I haven't delved deeply enough to know about the other new features, but the ones I mentioned are enough to make the product worth the $20. If you, like me, can never get enough Glitchmachine-y Unfiltered Audio-ish soundbendering plug-ins, you'll drop the price of a Burger King meal on it and not regret it.

Forum rules. Any mention of plug-in licensing must include a mention of Waves either in the first post or a subsequent post. Similarly, any topic that contains the name of more than one DAW, or a DAW other than Cakewalk must include a mention of REAPER, either in the first post or a subsequent post. If these conditions are not met organically, the forum software will insert a post with these mentions under a user name chosen by algorithm, although this is rarely necessary.

And you are under no obligation to buy them unless you believe that, for instance, there is $19 worth of new features in Sigmund 2. Sigmund will continue to work just as well as it has since you bought it. IME, D16's policy is as standard as it gets: minor releases (bug fixes, minor improvements) are no cost for existing users. They want money (a fraction of the cost of a new license) for new major versions that substantially extend the feature set. This is the way for the majority of the software I own. A|A|S, Magix, Corel, W.A. Production, PreSonus, iZotope, Mixcraft, Mastering the Mix, Glitchmachines, Plugin Alliance, Ableton, IK Multimedia and countless others. Companies whose policies differ from this (MeldaProduction, Image Line) are very unusual. The most popular variation on this that I've seen is one where the user is entitled to one or more future major releases along with the interim bug fixes. The license for REAPER is like that. Buy a license for 7, you're also entitled to 8 whenever it comes out, but you must pay again to update to 9. Why people complain about Waves' policy is that Waves typically don't add any new features, even for releases that increment the version number (the only new features I've seen in all the years I've had licenses for Waves products were the half-a55ed preset browser and resizable UI), their licenses are single seat unless you keep up the maintenance plan, and they relentlessly hawk the maintenance plan. The only reason I would have for keeping their plan up would be to maintain the second seat, which would amount to having the second license under a subscription plan, and subscription licensing doesn't work for me. Again, nobody is forcing anyone to maintain their Waves update plan. I bought a year of it years ago for 2 products because I wanted to update them from 9 to 11 or something. Then I let it drop because there was no reason to maintain it. In effect, I paid once to upgrade my Waves software. Since then, no WUP, and none has been necessary. I'm a Windows user, so I don't care a hoot about whatever tortures Apple is inflicting on its users in regard to losing compatibility, and Waves products have been, IME, bug-free and rock solid. They usually fix any issues within the first year of the product's life, while it's still under the initial WUP, and after that, it's smooth sailing.

Ah, okay, got my answer: If you already have Sigmund (maybe like me you got it as a PB freeB, those were the days), check in your User Area at the D16 website. There should be a coupon there that will allow you to get v. 2 for €19. I've never gotten into programming the thing, but some of the factory patches are wonders for trippy sound design. I have some heavy hitters like MTurboDelay, Objeq Delay, and Sandman Pro, and Sigmund is right up there with them. I'll be dropping the 19 for the upgrade.

Looks like it can be had for €59 at D16's own site. I'm an enthusiastic user of Sigmund; it would be nice to get an upgrade price.

Since you're getting the same latency either way, it seems like there's no difference. If you run into issues in the future, then you can experiment with switching. At this point, the only criterion would be how you prefer to do it, going into the Apogee at least saves a USB port on your computer. If you're really curious, ask whatever support there is at Apogee. Their forum if they have one or email tech support.

Brut

I go back a bit further than that. When the boutique stompbox wave hit in the late 90's and early 00's, I was something of a figure in that scene. I had my own small company with a line of loving recreations of specific vintage fuzz boxes. My products were reviewed positively in Guitar Player and Guitarist. I don't talk about that phase of my life much around these parts, it doesn't usually come up. I first became aware of the 500 rack craze about 15 years ago, watched it grow, knew a couple of the early movers, etc. There was of course some cross pollination between those scenes. Which is all to say that I understand and am sympathetic with people who want to add some analog sauce to their productions. And the people who are into this kind of thing are not afraid to spend some money, which is always nice when building a user base. It's a crowd I would hate to have alienated from using Sonar. They're good people to have around. So from that list of tracks and processors, I, with my pair of Saffire Pro 40's would easily be able to accommodate all that hardware only if Sonar would let me use my outputs individually. Otherwise, I'd not be able to pull it off, and half of my outputs would be useless,

That sounds scary. Can you describe in more detail how your projects (I assume you meant "projects" when you typed "programs") are having trouble opening in SONAR? The projects I have done in CbB open fine in SONAR, although there is a popup warning that the newer features won't be accessible. Obviously, if I use Arranger sections, those won't come across to the old program. Although I think that being proactive is a good idea, on my systems, Cakewalk by BandLab has not stopped working, nor have BandLab announced a date after which Cakewalk by BandLab will stop working. So you should not be having any problems with CbB at your gig on the 22nd.

I think that at a basic level, what Norfolk wants to be able to do is: if an audio interface has 8 outputs, use 8 different external mono processors on 8 different channels. So if you have a mono sound source on channel 1, you can send to your interface's output 1, then also send a mono source from channel 2 to your interface's output 2. The way it is now, a send can be configured as L+R, L, R, or Mono. The problem (as I understand it) is that if you put the External Insert on Channel 1 and set it to L, you can't put another instance on Channel 2 and use the leftover "R." Assuming that output 1 on your interface is half of stereo pair 1 and output 2 is the other half, you lose an entire output. I believe that the use case for single mono sends is not "real studios that use a lot of hardware." The theoretical pro studio will likely be using: 1, interfaces with plenty of stereo pairs and, 2, stereo rackmount processors. They'll also likely have 3, Waves Mercury and/or iZotope Everything subscriptions. The target market I see for this functionality are people taking part in the current craze for "500" rack boutique processors. Here's an article from a few years ago about this phenomenon: https://www.soundonsound.com/sound-advice/choosing-500-series-modules I have a couple of friends who have these, some built from kits. These things tend to be mono because of the modular nature of putting together a system (if you want "stereo," you buy 2 of them) and because their small size may not allow for more than one channel of analog goodness. If you are working with a lot of these things (they seem to be rather addicting), you'll be aware of what the DAW needs to be able to do to make your life easier. Some DAW's don't provide for it at all, some provide for using as many outputs your interface has as sends, and at least one, Cakewalk, ties up 2 outputs per insert whether you need stereo or mono. For instance, I have an interface with 10 outputs, 2 of which are dedicated to monitoring. With Cakewalk as it is, that would mean that if I had 2 vocal tracks and wanted to use external hardware compressors on each of them, I'd already have used up half of my interface's capacity and only be able to use 2 more compressors, which would mean choosing any 2 of bass, snare, kick, left overhead, and right overhead. Or maybe put a stereo Fairchild 670 clone on the master bus. But I would quickly be all out of sends. On the other hand, were I able to use all of my sends, I could have mono processing on all of the aforementioned mono tracks and still have one send left over. I personally mix entirely in the box these days. I have a few stray pieces of rackmount stuff that I rarely use. Cleaning up this feature isn't my personal fight. My wishes are for a nice software sampler ported over from Next, and/or some love shown toward Matrix. But I do believe that this boutique hardware processor enthusiast market is worth accommodating. And it seems like an artificial limitation. There's no reason I can see for treating each hardware output as half of an inseparable stereo pair. It's a waste of resources. I like Sonar and I would like to be able to recommend it to my friends without caveats like "but it's not the best if you want to use a lot of external sends." And if someday I get into 500 rack toys in a big way I'd like to be able to use them with Sonar with no restrictions.