Jim Roseberry

If you're talking "rendering farms", yes. If you're talking about folks who compose/record music for Films, they're all using Windows or OSX. Most are Cubase users. Out of all Windows users, DAW users are a *tiny* micro-fleck size group. Linux DAW users are a "sub-atomic" fleck size group. Maybe Presonus needs a tax write-off... (shoulder shrug emoji)

If you just want to "collapse" the stereo image, Cakewalk's "Channel Tools" plugin (included with CbB) will do that.

A Linux DAW is an incomplete solution to a problem that doesn't exist. Other than getting-over on "the man" (Microsoft or Apple), what's a significant benefit?

Moog One Extremely expensive Great potential One achilleas-heal It would spit out a really sour note (intonation) from time to time. No, I'm not talking about typical (desirable) analog-drift... I'm talking make your lips pucker totally sour note. Just killed the joy of having/using it.

I agree with James... the Kemper can surely function as a bass preamp/amp replacement. There are many small/light DI solutions. Jack Russell's Great White; the bass player brought a SansAmp to plug into the backline amp. Guitar player for FireHouse used a Fractal FM3. Our guitar player uses a POD-Go. Most of the guys playing regularly here (Central OH) are using a DI rig. Many analog DI options go all the way down to 20Hz. Depending on the monitor speaker, Kent sometimes asks the engineer to remove deep sub-bass frequencies from his monitor. Inquire before the show... and make sure you have proper monitoring. If so, enjoy the convenience (and clean stage) of going DI.

We play a fair bit around Central OH. Our bass player used to carry an Ampeg bass amp (which was run DI out to FOH). He now uses an Ampeg preamp. With proper sound, monitoring is never an issue. We've played shows opening for Night Ranger, Dokken, Brett Michaels, Lynch Mob, etc... as well as many smaller shows... and Kent's P-Bass always sounds good. Nobody misses the Amp. ?

Configuring the 13900k is a lot more involved than previous generations. If you set XMP and leave everything at "Auto", the machine will thermal-throttle running heavy stress-tests (Cinebench, OCCT, etc). This is true even with a top-tier 420mm AIO. No PageFault issues here (just double checked using the latest CbB build).

Tried a Katana, TS, and G3 (boost/drive pedals) in front of the IR-X. It takes boost/drive pedals well...

I've purchased the BE100 twice. Love the sound/versatility. Both times, I sold it... due to the size/weight and expense (I'm not primarily a guitar player). This format is so much more convenient, affordable, practical... for many of us.

Got the IR-X yesterday. Was our anniversary... so didn't have a chance to check it out until today. ? Channel 1 (Plexi) sounds great. With the gain dimed, it's super expressive. Play light and it's clean... dig-in and it's dirty. Channel 2 (BE) with gain set at ~1:00 results in a BE style Rock guitar tone. Nice dynamic/touch response and feel. Using the default IR with tone controls at 50%: Even when using a bridge humbucker, the sound is well-rounded (but not tubby). Switch to a neck humbucker... and flip the Tight switch to the left. Great clarity whether playing single notes or chords. Channel 2 has more gain than I'd ever use. Want to spend more time with the boosts (separate for each channel). By default, they're pretty clean. Also, want to see how the IR-X fairs with boost/drive pedals in-front. There's a lot of gain/level available (especially with boost)... so it's easy to overload the input on whatever you're connected to In my case, I've got the IR-X connected to a Neve clone (preamp). The level knobs for both channels are ~9:00 (quarter). While there are 1001 different DI solutions for recording (and playing live), this is the easiest I've experienced. It's stupid easy to dial-in good guitar sounds.

Friedman has released the new IR-X. It's a high-voltage tube preamp, with simulated power-amp section, and low-latency Cab IRs. Two Channels (Plexi, BE) Separate Boost for each channel Small and relatively inexpensive ($500) If you like the Friedman amp sound... and are looking for a simple/effective direct Live or Recording rig, this may be nigh on perfect.

It sounds good... but probably not the highest priority on my list.

That's my guess based on the teaser.

Acoustic Piano instrument

If you're a long-time Cakewalk user, I'd give the new version of Sonar a whirl. Even if you have a couple of different options available, it makes sense to give it a thorough try.

I have no doubt that "Made In Ashville" Moogs will be worth considerably more. I got rid of my MoogOne... but picked up a Model-D reissue. Wasn't crazy about the cost... but it's a lot lower than the $10-$12k for a vintage Model-D. Those prices will likely now go even higher. Feel for the employees! Wonder how warranty/repairs will be handled... As bad a reputation as Behringer has had, I think they've done a pretty reasonable job of keeping Midas, Klark Teknik, and TC Electronic on-par and on course. In-Music has done "okay" with Akai... but (IMO) it's not the same as when Roger Linn was involved. Economic realities of manufacturing in the US. The MoogOne 16-voice is now back in stock at Sweetwater. Cost is now $10k. It's been going up the past several years. Many folks just can't (or won't) pay that much for a 16-voice analog synth. I paid $7800 nearly two years ago (went to Sweetwater with a load of gear to trade-in). I was hoping it would be my one/only... end-all be-all analog synth. MoogOne is amazing in some ways... and terribly frustrating in others. Without Bob, I just don't think Moog was (is) the same.

You might consider something like a Line-6 Pod-Go. If you're not familiar, the Pod-Go is essentially a cut down Helix. Would be super convenient for playing events, talent-shows, etc. Our guitar player is using a Pod-Go for the shows in this video. https://www.facebook.com/gypsykyngsbandohio/videos/231680486540349

There is no speed/bandwidth difference between Thunderbolt-3 and Thunderbolt-4. There are currently no Thunderbolt-4 specific audio interfaces.

Didn't like the feel of the Kontrol S-88 mk2. Compared to higher-end workstation keybeds, it feels cheap. Polyphonic aftertouch and 30-lb weight make me want to try the mk3... but I don't have high hopes. My favorite 88-key keybed (out of everything that currently exists) is the Nord Stage 4. At ~40 pounds, the weight isn't terrible... but once in a case, it's about as heavy as I want to go (carting to gigs). The Stage 4 has triple-sensor keybed... and channel-aftertouch (not polyphonic). The keys have enough weight to play acoustic piano expressively... but sprite enough to play fast Moog type synth lines. I can't imagine carting something like the Fantom-8 or Montage-8. In a case, those are 80+ pounds. That harkens back to the early 80s and hauling 100 pound Rhodes electric pianos. ?

Onboard UHD-770 is going to be fine for DAW purposes. Where it'll fall short: Video Editing - where you need a RTX video card for hardware-assisted processing/rendering Running multiple 4k monitors

Knew a beautiful young lady who had a bad drinking issue. Most folks didn't know... because she hid it well. She became very ill... to where her boyfriend finally took her to the hospital. There was nothing doctors could do... her liver was gone. Passed away at ~35 years old. Several years later... still shake my head in disbelief... and wonder what her life might have been.

Dream Weaver was one of the very first songs where I remember thinking, "I love this song!" RIP!!

You don't always want Speed Step and Speed Shift enabled (totally depends on the motherboard/CPU and the audio interface). Will cause audio glitches with some configurations.

I used an Apollo 8 and Satellite for a few months (connected via Thunderbolt-3). It was rock-solid. Round-trip latency is about the same as the best USB-2 audio interfaces (not UA's forte'). Also, I didn't care for the onboard DI's. To my ears, they impart an exaggerated "tubby" type tone to DI guitar. IMO, not flattering to the guitar (especially when using amp-sim plugins). That's why I moved to an Antelope Orion Studio Synergy Core.

It's down to how picky you want to be, perhaps can afford to be, and how much inconvenience you can tolerate. ? Though I went thru a recent period where I bought all the popular analog synth re-issues, I ultimately sold all of them but the new Model-D. My focus of late has been more on playing live (vs writing/recording). Had to rein-in the expense (and physical space) consumed by large analog synths. IMO, There's a lot of room for improvement in all instruments (hardware and software). Being in a cover-band, you've got to mimic many different sounds. Programming all of those, you start bumping into the finer points (limitations, quirks, etc). After hearing countless hours of my rambling about limitations, my wife was like... "Why don't you just design your own keyboard?" Touché wife.