bitflipper

This thought is what sustains me. Also applies to many other troubling modern trends. For example, I hope to be dead before Facebook accounts become a legal prerequisite for official recognition as a human.

Trilian 1.6.1c enhancements and fixes: New Arpeggiator features: - New “Strum” step modifiers simulate guitar strumming. - New "Humanity" knob controls the amount of randomization applied to individual note start times. - New “Life” knob controls the amount of randomization applied to individual note velocities. New Modulation Targets: Arp Humanity and Arp Life Adds value-snapping detents for the Envelope ADR parameters. Detents are only added when the Envelopes are host-synced. Holding down Shift while dragging the ADR controls allows continuous value adjustments Fixes graphics performance issues on macOS Monterey. Fixes issue where the Modulation Matrix Target Parameter sliders did not function correctly. Fixes crash that could occur when a Soundsource started playing for the first time Fixes issue where switching patches could cause audio glitches Fixes issue where setting polyphony (# voices) to 64 could cause the plugin to stop responding to Note On events Fixes issue where the Harmonia Mix parameter value could be wrong after loading a patch Fixes zippering artifacts for the Aux Return parameter on the Part Effect Racks Fixes issue where simultaneously changing the Soundsource "Reverse" parameter on both layers could cause loading failures Fixes issue where Key Tracking and other sources would not work when Solo mode is On Fixes issue where Filter Key Tracking in Solo mode did not handle release events properly Fixes issue where changing the Master Filter cutoff and resonance simultaneously could corrupt the audio output Fixes issue where the Master Filter was adding audible lowpass filtering at host sample rates above 44.1kHz Fixes issue where LFO rate was incorrect after changing the sample rate Fixes issue where envelope parameter data was loaded incorrectly for some patches Fixes issue in Arpeggiator where Step Dividers, in conjunction with Chord mode, did not play properly Fixes issues with Arpeggiator preset menu Fixes crash in Live Mode pane that could occur when rearranging Parts Fixes Patch Browser synchronization issue where the Category filter could be incorrectly reset to "All" while changing patches Fixes issue in Browsers where exiting Sound Match mode did not return to correct prior patch library Fixes issue where the wrong Mini-Browser could sometimes be shown after closing the full multi-browser Fixes issue where Browser’s rating stars could be overwritten by “MIDI Learn” text sometimes Fixes issue where arrow steppers on mini browser pane could step thru patches when mini multi browser was displayed Fixes issue where note timing adjustments made to the Trigger Mode setting were incorrectly scaled by the Clock Speed parameter Fixes issue where modulation highlight graphics for GUI controls did not always get reset after a patch load Fixes issue where the Modulation Target Parameter sliders did not function correctly after selecting the "Show Modulation" option Mac Only: Fixes issue where modulation highlight images were not getting drawn for some knob-style controls VST3: Fixes issue where creating new parameter automation assignments did not work in REAPER and Bitwig Studio VST3: Fixes issue where "Enter Value" feature for manually typing in automation values did not work VST3: Fixes issue where host automation values changed after closing/ opening the GUI VST3: Fixes issue where VST3 Hosts added a resizing handle to the VST3 plugin GUI VST3: Fixes issue where changing the Clock Speed parameter did not work properly macOS Installer updated to run natively on M1 Mac (Rosetta 2 not required) Windows Standalone app updated to v1.1.0d. Resolves Windows system DLL loading issue

Keyscape 1.3.1c fixes: Fixes graphics performance issues on macOS Monterey. Fixes issue where the "Realism" control in Factory patches could freeze the GUI temporarily. Fixes crash that could occur when a Soundsource started playing for the first time. Fixes issue where switching patches could cause audio glitches. Fixes issue where setting polyphony (# voices) to 64 could cause the plugin to stop responding to Note On events. Windows only: Fixes issue where playing MIDI notes while a Soundsource is loading could cause CPU spikes and audio glitches. Windows only: Fixes issue where playing a Soundsource with Thinning enabled could cause CPU spikes and audio glitches. VST3: Fixes issue where "Enter Value" feature for manually typing in automation values did not work VST3: Fixes issue where host automation values changed after closing/ opening the GUI VST3: Fixes issue where VST3 Hosts added a resizing handle to the VST3 plugin GUI VST3: Fixes issue where changing the Clock Speed parameter did not work properly VST3: Fixes issue where creating new parameter automation assignments did not work in REAPER and Bitwig Studio macOS Installer updated to run natively on M1 Mac (Rosetta 2 not required) Windows Standalone app updated to v1.1.0d. Resolves Windows system DLL loading issue

Trash is the most honestly-named product ever.

Funny, but sadly not a joke. It's only a matter of time until the day comes when you'll want to upgrade your hardware and Win11 will be the only option. Even if your DAW is permanently offline, eventually you're gonna want some software product that's incompatible with Win7/8/10, or that can't be installed and/or authorized without an internet connection.

I use iZotope RX for this kind of thing. It works quite well. There may be a less-expensive but equally effective alternative out there but I'm unaware of any. If this is a one-time problem, you can always download the fully-functional but limited-time demo of RX and use it for free for, IIRC, 30 days.

What he means is that your post is not relevant to this thread's topic. ("Relevant", as per dictionary.com: bearing upon or connected with the matter in hand; pertinent.) Relevance and topic focus is important to maintaining a forum's usefulness as an ongoing resource for information. Consequently, other users who rely on this forum for information are likely to get a little miffed by off-topic posts. Hope this helps.

To be fair to IKM, I had rather low expectations for their Hammond emu and it turned out to be my absolute favorite faux-B3. But that one doesn't fit the premise of this thread, because I loved it from Day 1.

When you said "dinosaur companies" I assumed you meant those companies who wrote some good software in 2006 but never updated it, and yet still have annual Black Friday announcements offering big discounts. Or that still have draconian copy-protection measures in place decades after anybody has had any desire to pirate them. Acting like they are still the T. Rex of the jungle, not noticing that little furry mammals have eaten all their eggs.

Nope. Can't think of even one. There are a few that I've come to like better over time as my familiarity with them has grown. But far more of them fall into the "I thought this would be better" category. Or worse, the "I can't believe I paid X$ for this!" category. Every time that has happened, I'd repeatedly revisit them, hoping I'd missed something, hoping that my investment hadn't been for nothing. And every time re-concluded "nope". Interesting that you include SampleTank, which still tops my list of crushing disappointments despite having given it many chances to prove itself. Everyone's expectations are different.

What if you just try to play back channels 9-16, with 1-8 muted? Just wondering if you could be hitting the polyphony limit of the instrument. 64 notes sounds like a lot, and it is when you're just playing it as a synth, but with 16 voices that's only 4 notes per voice. Also make sure the tracks that aren't playing back are routed correctly. Whatever is going wrong will probably have to be resolved at the instrument, rather than doing anything differently in the DAW.

I've been flipping bits since 1973, and this is the first time I've heard the term "bitness". A good word, though, as I instantly knew what it meant. I use "wordlength" when talking to techies, "bit depth" when talking to musicians and audio engineers. btw, whether or not a plugin is 64-bit is a flag (isX64) in the registry, along with other flags to indicate whether it's a VST, VST3, ARA-compatible, or a synth. Also the number of inputs and outputs and a whole bunch of other stuff I've yet to decipher,

Yeh, I literally can't count how many times that has come up in conversations with musicians. But I get the analogy. That's why I drive a 1969 Rolls Royce Silver Shadow. Sure, I'm still paying it off, but it kept me from buying a Pacer in 1973. </Tongue_In_Cheek> Spectrasonics does take a bit of a haughty attitude. You may know that I write software reviews for SoundBytes, and in that capacity have been fortunate to deal with many top-tier developers. Out of all of them, only Spectrasonics demanded a pre-publication copy of my review. And then sent me detailed "corrections". I remain a Spectrasonics fan, though. As you point out, Eric created many of our favorite patches on 1980's-era hardware synths. My main synths in those days were the Jupiter 8 and Juno 106, so I was a fan of his even before I'd ever heard his name - when I saw him demo Omnisphere at NAMM 2008. He's a great presenter who exudes infectious enthusiasm for synthesizers. I wanted to buy it then and there, but it would be a couple more years before I made the plunge.

Like most here, I have a pretty extensive collection of synths and VIs. Some definitely get used more than others. But is it because they are better or simply because I know them better? Whatever the reason, looking back at their usage over the years there have been two clear favorites. 1. Omnisphere 2. Zebra2 Synthmaster is also very good, and versatile. But I only use preset libraries with it (there are a lot of them and they are cheap and high-quality). If I want to program something from scratch, it'll always be Zebra. I've done some from-scratch patches with Omnisphere but sheesh, it's deep. Zebra's a lot easier. (But for ease of programming nothing beats old-school Moog or Oberheim emulations. I often recommend the free OBXD to people who are just setting out on the synthesis learning adventure. I also have the Cherry Audio emulation of the Oberheim 8-voice, also easy to use and currently only $29. But good as they are these synths don't meet your criteria for an all-in-one solution.) If you want one all-encompassing solution you'll find everything you need in Omnisphere. Sure, it's pricey, but you could easily spend far more on multiple synths and still not cover as much ground.

I love the current tempo map and consider it a huge improvement over the old format. My projects often look a lot like Jeremy's example above, with many tempo changes that are precisely aligned with specific transitions. The only way I can think of to possibly improve on it would be to make it transparent and moveable, so that it could be overlaid atop any track or automation lane. But I'm quite content with the way it works now.

I am almost sold on Unify. Almost. Whenever I watch a demonstration video for any musical product, I try to imagine myself using it. Does it fit with my composition style, my genre preferences (assuming I have a genre; I'm not sure I do) and recording workflow? I was not able to see myself in those vids. I do use split keyboards, so I get that part. But I only do that in live performance, where I often have to jump from one patch to another mid-song. But in the DAW I still see every part and every track as a separate puzzle piece. I don't even use Kontakt multis. Maybe Unify will help me step out of that mindset, I dunno. Vastman is certainly enthusiastic about it, as is my old friend lawajava. Testimonials from people you respect musically can be more effective than any ad copy.

My name is Jimmy and you better not wear it out...

This is why I avoid using the auto-gain feature on compressors. It usually ends up causing more effort than it saves.

Or just drag the length of the MIDI clip out to wherever you want the render to stop.

Only Noel can answer this definitively, but my assumption would be that from the engine's perspective a frozen track appears identical to any other audio track. The only difference is that the original track is preserved and linked to in the frozen track. That linkage should not impact performance, as it's only referenced when you un-freeze. Not enough to notice. It's just a bit of addition and multiplication happening there. Nanoseconds. No. See above. Reverb, of course, can be very CPU-intensive. But how many tracks are routed to it won't significantly add to that. Fortunately, there'd be no benefit in doing so. Though not unheard of, it's rare that in the real world separate mics would be used for each violin. There is, however, an advantage to playing each violin separately as you're recording, assuming you're not programming notes directly into the PRV. Playing them separately simulates the tiny timing differences and vibrato between individual players in a section, adding to the overall thickness. You could also pan them slightly to simulate the width of a physical string section. If you really want to go all out in realism, give one of the virtual players a squeaky chair, another one a cough. But I wouldn't bother. When you use a well-recorded ensemble sample you get all that anyway, with no effort.

I was in Frankfurt in 1970. You wouldn't have happened to have been at the Deep Purple concert at the Hunderthalle that year, by any chance? Or the ELP concert the following night? I was based in Munich but had made a road trip with my bandmate up to Frankfurt to see those performances. It was ELP's second gig, before their first album had been released, but I figured if the band was half as good as The Nice it'd be worth the trip. They exceeded expectations.

In 1967 my Dad wanted to come to a gig and film the band. We were playing the Peppermint Lounge in Omaha, the second-most prestigious gig in town (read: psychedelic lights and girls who put out). I refused to let him do it. How could I possibly remain cool on stage with a parent and his 16mm movie camera? I was such an insecure dork at age 16. That footage would be priceless today.

Max, are you freezing the fx on those tracks, too? I'll second Mark's suggestion about bouncing tracks and archiving the originals. That'll guarantee that those tracks will require minimal resources like any other audio track, but you'll still be able to un-archive the original tracks if needed for editing. But you'll have to archive the originals so they don't remain cached. If you're still losing performance after freezing/bouncing, take a look at your memory usage and see if it's going up with each bounce. There could be a memory leak with a plugin (or even conceivably - though unlikely - within the CW engine itself). Try bypassing all fx to make sure your issue actually has to do with frozen tracks. With the global fx bypass on, any CPU snappy enough to, say, play a modern video game should be able to play back 1,000 audio tracks with ease.

Reminds me of a Dimitri Martin joke... "I think they should put pies on the front of trains, so when they hit something it's at least a little bit funny".

In a recurring nightmare I find myself unexpectedly on stage with a bunch of players I've never met before, we haven't rehearsed anything, and there's a packed house waiting for us to start. Then I realize that my gear is still in the van. Preparedness is the best defense. If I know I'm going to be challenged, e.g. a difficult or fast part, my secret weapon is Starbucks Iced Mocha. Because I don't normally consume much caffeine, that quickly winds me up into high gear. My brain is moving so fast that I mentally step back and just watch my own fingers moving, seemingly of their own accord. It's a marvelous Zen state.