Brian Walton

I think we disagree on what "effectively drive" means. Will you hear sound that comes out? Yes. Will that sound be as rich sounding as it would with something of the same fidelity but drives it better? Nope, it won't. Thus they are not a good match. 250 ohms is too high for the way that particular interface is designed.

I'd like to think there are far more than 1K users (the number in that poll) ? My point is I think many of those that voted don't even know what they are talking about. I'm a heavy "audio" user, but I also realize that Cakewalk doesn't have a whole lot they could develop there, so what would be the point voting for that? So few people use Standard Notation in an digital enviroment, I understand why it wouldn't get much attention. Both MIDI and Audio are at the forefront of modern prodcution and the tools to make composition easiser/better seems like low hanging fruit for a company that wants to make music production accessable to all. A great composition has universal appeal, "technical" improvements to audio editing - seems like things that are unnecesary considering the tools we have now. Is it concerning to me that the majority of users don't understand what is of value in music production? Maybe a little bit. ?

I had not seen that. Good call. Though it seems interesting to me that the community that did vote put Audio Editing development as #1. Outside of something like Spectral Editing, note quite sure where I expect Cakewalk to go with that one. There just isn't that much more that is out there (considering effects such as noise reduction, is a seperate catergory). Glancing through a number of comments on the subject, I'm not sure all of the users understand the scope of what that audio editing catergory would encompas. I'll also note that the vast majority of music production doesn't need better technical mixing, it needs better music and composition. Most people don't seem to grasp that is the real improvement they need to make the music actually matter. The technical tools we have are so far beyond what was used to record long term impactful recordings. The challenge is far more a creative one than a technical one with what we have at our disposal.

Right most permit 2-3 authorizaitons. However, iLok in theory you don't get that "lost authorization" back if the HD fails since there is no on-line deauthorizatoin available like other providers offer (XLN Audio is one example). I personally use 2-3 authorizations in my environment, thus losing an authorization outright equals a decision to either pay for more or switch to a provider without such problems. Thus why I tend to never use iLok applications unless I feel there is a real need to, and that is fairly rare.

+1 what Cakewalk offers is plenty for the future already. The only thing I'd really like to see is some simple arrangement "chord" type of tool built into the interface. Would be helpful to see, create chords and song structure in an easy to setup and with a sizable view. This kind of thing (Kind of Like EZ Keys) is harder to work with as an "external" tool. I think this would also help bridge the gap for newer composers. Not needed of course, but is one of the view things I could see as a real value add to the way the whole tool could be used.

True, but last I checked I was thinking the "local" ilok manager requires deactivation from the PC. So if that HD fails for some reason, you just lost hundreds, or thousands worth of virtual gear. And yes, I can't see any possible scenario where I'd pay for a Slate like system. You can't resale Slate either??

Word of warning my black official Senn headphone bag....black rubs off on the Cream headband of the 598s. I baby my headphones and they basically look abused b/c of that bag. I also imagine this might be the reason for the color change on the 599 headband.

I only have about 6-7 of the smaller Soundtoys plugs but the Bozbplugs I have get used on every single project. Soundtoys sound great but seem like the every now and then use for the ones I have. I also never use an ilok plug if I have an equal with a more liberal authorization process. Mongoose, Pan, T-bone, manic Comp Clipper, delay, Sasquatch, gate all are go tos when the effect is needed.

I'd look for a lower rating. You won't have the output the phones are capable of using 250 Ohms headphones with it. They would benefit from adding an amp to the stage. With a much lower rating an amp wouldn't be necessary at all.

A friend bought a pair and we did side by side testing with my 600 and 650s. All 3 were a little different. They are not made down to the "t" the same. Excellent headphones, no question about that. Not sure how well they do with resale haven't tracked that. The 600s or 650s are more relaxed, like sitting farther away. The 590s series are more upfront. While the drop phones are a good value compared to the 650s, they are still quite a bit more expensive than the 599s which I prefer and I've done a few listening sessions in a studio with friends and I'm not alone. I like 600s for classical recordings, but tend to prefer 590s for just about everything else.

Have owned the 580s, 600s, 650s. I prefer the sound (and comfort of the 595, 598, and 599s. plus side they are a lot cheaper and are more easily driven by different musical sources.

I'm under the impression it is a little mix of both depending on the product. Realistilly a lot of it is market driven. I never understood the model of $150+ for a single plugin effect for anything other than a full blown studio in terms of rationalization from a budget perspective and with DAWs now including real usable effects in the package, it makes even less sense. Unlike a piece of hardware, the software runs a chance of being "worthless" in a limited amount of time. Current state they have many advantages over hardware in the short term, but your average home producer has a budget that is more in line with where the market is heading than what the manufactures were trying to dictate 10 years ago. I'd much rather have a competive product from Boz than the "big name" due to things like authorization methods and install processes. In the case of the +10db, is has to be hard to compete with something like the Waves Omni Channel when it goes on sale for around $25, outside of those of us with multiple workstations that would need to buy are than one seat to seamlessly use across platforms.

Since when is the Abbey Road Bundle $1K? Don't get me wrong that is one to the best things Waves offers as a package but seems like a bit of an oversell. Hate to say it, but having to listen to that song for as long as it would take to mix it would not be worth the top prize, IMO.

Really like this pluign, but does anyone else have issues running this in 64bit VST in current Cakewalk version? VST2 works fine, but VST3 on my machine freezes the entire project for some reason. His other VST3s don't have this issue.

V1 gets more use from me because of the Pro-Channel module. And since not everyone knew about it, always good to get the word out about a solid freebie.

I have a similar issue with Boz Manic Compressior VST3, though his other VST3s work fine.

Released around May of 2018, so about a year ago.

Has been free since release. Wish he did a pro-channel version with the update, since I get enough frequent use out of V1 that came with Cakewalk as a PC module.

Main one I'm interested in is feedback on the AutoVolume tool "Outlaw" Have one from HorNet but not sure I've ever even used it on a project. Courious your thoughts on this one.

Most "synth" plugins and simulators are cluttered and complicated. I appreciate AAS aesthetic is simple and straightforward. With a smiple play pannel, edit pannel and effects pannel. Don't "Love" the UI but I'd arugue it is way better than most.

Picked this up, only had a few duplicates. Don't use synths a whole lot but AAS makes good stuff and expect some usable stuff within all these packages.

Amazing deal for those that don't have most of them. Don't know if I'd drop $49 for the very few I don't though.

Better than RX 7 elements for $10, I'll beleive it when I see it. ?

And just like that, I want the Game Changer Plus Pedal.... ? I have the EQX Freeze which I have to imagine gave them the idea.

Not true at all. If it was a necessary feature the companies could bank on users paying for upgrades or upgrade plans. The reality is subscription is seen as a way to require end users to continue to pay even though a large chunck of users do not insist on continuious development at a regular pace. The market is saturated and the programs out are so mature that the average user can be one and done for many years. I know many full time professionals that use Adobe CS6. That was discontinued 6 years ago. The DAW market is no different and this is the same timeframe Sonar X3 was released, a still very capable and impressive DAW. Avid has never been a low cost leader and it is no surprise they are trying to squeeze more money out of their user base. They have done this for years.