Brian Walton

A new DAW is going to be limited and lack maturity. Cakewalk is still the only DAW I care about. The others I'm sure are fine for someone else.

Actually the list is of the favorite/best DAWs by the readers. I'm quite certain Live is more popular in terms of usage than Studio One. Personally not a fan of the GUI, but it is a good alternate DAW choice since it is effectively designed to work differently.

The painter program is on another level. However just throwing money away if she never used Rebelle - which is a fine program.

I wouldn't get too caught up in which piano they sampled, it may or may not actually sound like what you have in your head as the S&S sound. I'd download this for free as a starting point: https://www.meldaproduction.com/MonasteryGrand If it doesn't sound like you want after you tweak it with various mics and settings, then move on and try another. another options that are free and of high quality: https://vst4free.com/plugin/2294/ http://ivyaudio.com/Piano-in-162

Lots of different approaches out there. If I'm trying to avoid Mud then I'll put Phoenix (which can be super transparent) on a bus and then send things to it at various levels. Then specific sources might get a different reverb if required (via track or bus)....but this step always leads to more mud - though sometimes you have to deal with it as a trade off. Some Reverbs will also let you roll off the low end of the reverb trail, that also is helpful to get rid of mud. The kind of reverb and the settings can have a huge impact on "mud" Phoenix is fantastic for that kind of transparent sound (but you know when you turn it off) thing. I like reverb as an effect though and have no problem sacrificing some mud to get some texture on most of what I do. But if I'm really going for the it was recorded raw type of mix, the above is the route.

Something that actually sounds like natural reverberation applied to a source. Very few really sound like that, have full tweakability and don't muddy up a mix as you apply it.

Every type of effect has a limit, but I think there is plenty of room for improvement in the reverb space. Very few are world class and process efficient.

As Izotope tried to bring reverb to the market, they noted the list of people that really understand and can create reverb at the higest technical levels via algorhythms are few and far between (thus landing with Exponential Audio - i.e. Lexicon). There is room for improvement and capabilites in the reverb realm, play around with the Exponential stuff and there is a very clear difference between that and reverb plugins of 15 years ago, including those of Lexicon. We do have more nice options at the market than ever before, but the cream of the crop are still few and far between in my opinion. We see a trend towards "effect" as I think that is a bit easier to pull off. The ones that really blend with the source and sound like natural verb is fairly rare. and thus why there was a push towards convolution in recent years...which has its own limitations. Then add to that "AI" to help music creators get something that fits the source/mix and that is a very new advancement and I think there is a lot that could be done in the area as tech continues to advance.

Agreed. Though I'm not 100% content with just Phoenix...there are times when I also want some character....and that is what R4 is for. (hoping they run another cross grade offer so I can get a 2nd seat at a time when I have some funds to spare).

I haven't used this one, but my Waves verbs basically went in the trash can after picking up the Exponential Audio ones. (Abbey Road plates is good, but way to much of a resource hog). And I do use other Reverbs other than the Exponential Audio ones. Point being, if this thing was basically built on EA tech, I'd imagine the intro price (who don't own an izotope plug to get the upgrade) is one that might potentially be in line with - if you don't have anything else - it would be a replacement for multiple "$29 plugs" (and if it is Izotope - will authorize to multiple personally owned computer unlike that crippled WAVES system) That being said, I'm with you, unless this hits $29, I won't bite either based on what I already have.

Also check out the accuracy settings in the menu (click on the brand logo on the plugin). I might have to use "ultra" for the mix down process and just use Regular for mixing with a number of tracks.

Imprint was released a little over a year ago, no issues. My tolerance level for single install manufactures is super low. I basically no longer use WAVES on my projects. The only exception I've been making is the Exponential Audio (which I tie to an ilok), and only because 1) The sales they ran and 2) the sound truly is unreal. I just got it, but have been messing around with it today. My first impressions are very favorable. The "low cut" set to off does have some low end roll off (sub bass) which is perceivable. While the average person wouldn't use it on everything, I just might. I put it across tracks in a project and tweaked each channel and enjoyed the results. It really adds an "analog" quality to my ears that I'm already enjoying on some sources. It can be set to add noise and top end. I cranked the tone up on a dull piano recording and pushed the input a little and gave me what I was looking for. I liken it to the use it across tracks to get that analog console vibe, and seems to be doing a fairly pleasing job of it. I'd suggest running the demo (demo is of the audio stopped being passed through periodically kind, and then you load the license file to get rid of the limitation if you choose to buy it. Certainly worth checking out. I'm expecting to use it a lot based on what I'm hearing today. First test are putting True Iron first in the chain and this pre-amp right after it. Sounds good to me thus far.

I have a few WA plugins (maybe 5)...all of them have installed on 2 machines I own.

Already bought Imprint from a previous plugin boutique deal (certainly like the idea, wish it had more flexibility to soften the attack and then adjust that). I bought Audiority's Pre X7 for about $10 this month so that is another option to look at to pick up the free ones. (It isn't a massive discount off of "retail" but Audiority makes good stuff that is already fairly priced)

Bought from them a number of times. One of the best places to get legitimate deals.

2.1 seems to be stable for me (and others report the same)

+1 was just about to report this.

They had massive demand that blew up the servers. If you signed up you can get it by doing this: Those who signed up during the giveaway please contact the developer affiliate@magix.net with the subject line "GOTD license" to get your serial. Thank you! Again we GREATLY apologize for the inconvenience.

https://www.giveawayoftheday.com/vegas-movie-stud Not really a deal if your computer can run Davinci Resolve, but if it can't there is a better chance this would be compatible (as it won't require as high/modern graphics specs.

It looks unique, I'll give it that. But no way am I paying that kind of scratch for a transient designer.

You clearly lack objectivity and take the facts about how many people actually use the function personally. Bandlab doesn't cost money to download and install, I've invested a fair amount of money to get to the stage where Bandlab thought it was valuable enough to purchase for an undisclosed sum. I've also invested many years using the software, and my time is not free. What compells you to argue againts me? They are opinions and I've provided solid reasons why develpment in the staff view only serves a tiny subset of users., and there are plenty of improvements that could be made that servers a far larger population.

A chord track which hasn't been developed yet is of use to a far larger user group. Staff Notation itself hasn't changed in decades and the dev team noted what a small percentage use the Staff View when they were collecting analytics, it was practically unused. I have no problem with them developing it more, but it doesn't make a whole lot of sense to. As for the academic side of musical notation. There is a long history of purchasing printed scores and keeping those places in business. What academic solutions are teaching kids to create their own notation in a DAW? That use/application is far more advanced and therfore a far smaller subset of musicians. We are talking a fraction of a fraction of 1%.

Yes, I've been there. Though I learned how to play music (in some capacity) before I'd even attempted to learn where the notes were in "standard notation" as a early teen. And I know hundreds of kids that learned how to play music without ever learning. I personally don't think it is the way to teach kids. What percentage of kids have real interest in orchestra, concert or marching bands? Now what percentage of kids have interest in Rock, Pop, EDM, etc? The numbers are way different, and they way to learn Rock, Pop, etc from the primal learning stages has nothing to do with notation. It is about learning a language and emotion and expressing it on an instrument. I've seen far more kids stick with music and play later in life if they learn based on what they want to play first adn then learn notation and theory later (if at all). The percent of kids that stick with that class room style orchestra standard notation reading system is abysmal. Those that learn some rock chords and play rock chords as a teen or adult way higher. Again we are talking about most benefit to the most users. Standard Notation isn't that platform, in my opinion. I'm saying it shouldn't take priority in development given it is a very tiny subset of users. And Cakewalk hasn't even introduced a Chord track yet, with is aimed at the "majority" as it dumbs down the need to play an instrument and is also useful for an experienced pro. When I was in High School over 2 decades ago, our band instructor used a DAW to create both notation prints out ans a midi track for the band to learn from. But I'll galdly call you old fashioned if you think the majority of music creation is from those 3 groups...that squarely puts you in "old fashioned" camp ?

I'll gladly make the counter argument that far more "musicains' do not use Notation at all and that the common thread is actually features that simplify music production even for those that know very little theory or still haven't learned what note is on or between each line. Notation is fine, but it hasn't been the cornerstone of music production for over a couple decades. and the trend is moving even further from it.

Really wish they had 2+ authorizations, so I wouldn't be sitting here thinking about buying another cross grade (as I own 2x of both Phoenix, Excalibur and 1x of R4)