Bruno de Souza Lino

These might be faked. Do you see any microphones anywhere? How do you get that proximity effect without being anywhere close to the microphone? Also notice the amount of cuts. You never really see much guitar playing or voice. His voice would also never be this consistent or in pitch with him moving his head around that much. Notice that both videos follow the same editing format.

I'm more particular to morons

Then you don't know how to explain it.

No. You know why? Because no other company does this kind of BS, especially with a free product. There's also that one little thing that adds more salt to the wound. You can only download the files twice. So, even if you manage to want to get the files on time before their asinine expiration date, you might run the risk of having the "extremely reliable" product manager fail to download the file twice and there goes your two free downloads. Now you have to pay for the free product anyways. Some people could argue that the way this is setup is meant to lead the user into error, then spending money on the product anyways.

What you are really evaluating here is the value of a CbB license, rather than the software itself. Software by itself is useless. It stops being supported, it gets out of date quickly. It's the license that's worth something. Are you willing to pay $1200 for a license of a software when there are competitors in the market that cost less and offer more features?

Can we trade that for SONAR Platinum licenses instead? No? Okay....

No thanks. The scummy scammy expiration date for sounds download means that I have to give IK Multimedia money in order to make use of a product that was supposed to be free. Now I see that the free part means free money to IK Multimedia, not free product for me.

I thought we were trying to come up with reasonable marketing practices here, not to copy IK Multimedia. CbB cannot be evaluated at a market value of that amount because it would be too expensive in comparison to the competitors on the market that have more features and cost less. This whole proposition only benefits people that already spent money on the software while giving new users a nice way they can spend money on what amounts to nothing. If we take CbB as is, you are maybe paying for Drum Replacer and ProChannel and they're frankly not worth the eventual 120 bucks you'd spend paying for the software for a year. At a market value of 1200, you'd have to give Bandlab 10 years worth of money to own the software. Consider that Ableton Suite costs 700 bucks, FL Studio All Plugins Bundle costs 900, Cubase Pro costs 600 bucks, Studio One Pro costs 400 bucks...And you're getting about 10 times the content CbB gives you nowadays. And the price comparison is optimistic and assumes none of those pieces on software ever go on sale.

It only took them 5 versions to finally do what their users have been suggesting since version 2.

The main question here would be how bad the bleed is. Before the introduction of gating techniques, engineers just were used to take bleed as part of the drum sound and make use of it, mixing the drum kit (as it should be) like an instrument instead of a collection of instruments.

I tried Sonarworks and I cannot make any mixes sound good using it. I think the correction used on my phones (Sony MDR-ZX110) have way too many highs and my ears start hurting after I use the profile for about an hour or so. In the end, I often resorted to using the headphones without anything and checking the mix using EXPOSE and SPAN.

The sphere eventually goes out of round.

Almost everything pertaining to claim checking is automated. Small fry like you and me don't get human eyeballs to check for erroneous claims. You have to be in the millions of subs area (that often grants you access to a person inside YouTube HQ you can talk to) and generate enough pushback with your fanbase for stuff to be solved. Even the support emails are automated. When you ask for a re-verification, they simply run the video through the same algorithm that blocked it again. When someone claims your work, your refute is a message to the person that filled them claim, not Google or YouTube. If that person did the claim with nefarious intent, guess the odds of you getting it removed. The most you can do to mitigate that scenario is abuse the system so you get a deadlock where no one receives money from those claims, as multiple sources need to argue on how to split the earnings.

21-16.5k Not bad I guess. I had to make sure the volume was equal for all frequencies, since the video doesn't do it.

I used to be able to not be stuck in place by depression and psychological trauma. Is that a valid claim to fame? If not, I have none.

That depends on pricing and availability. As it stands out, upgrading to Studio One 5 (I have Studio One 2 Artist) for me is just a matter of having the money and the appropriate credit card for it. Another alternative a bit on the more expensive side would be upgrading to Cubase Elements 11 for 50 EUR, having Cubase LE 10.5. I think Cakewalk by Bandlab has a looong way to go in terms of features, performance and workflow for Bandlab to even think about selling it, otherwise you risk becoming another SAW Studio.

That's not the issue here. The issue is availability. The Absolute Collection doesn't need the dongle to work. And if you need to use a powered hub, that's one extra power brick you have to carry with you at all times.

Be thankful you don't have to put billing information to download even a trial, like Adobe started making mandatory since September.

The drums are synthesized. The cymbals are not. This is why MODO Drum is considerably larger than MODO Bass.

Dorico Pro and SpectraLayers Pro are the first "Pro" products from Steinberg that don't need the USB dongle to work.

The artifacts are the same across all versions, since they use the exact same machine learning datasets. Only difference might be one product using the experimental 17K models (the original datasets were trained with frequencies up to 11K) and some tweaks. Explanations for that can be read on the Spleeter manual.

Even with that, they're essentially the same product made for the same task. Difference being RX is considerably more expensive and went for a more "audio editor" interface, while SpectraLayers went for the "this is Photoshop for audio" one.

Those preset updates are Waves attempting to block crack attempts. Most of the V12 stuff has been cracked already, but not Echosphere.

Then you don't need SpectraLayers. The unmix feature is the same one spleeter users, down to using the exact same dataset. You even get the same artifacts. The same applies to the feature in Acustica and RX.

And now you have one piece of hardware that doesn't work unless another piece of hardware is present. Invariably, you're gonna lose that hub the moment you need it the most and... You know the rest. Doors don't require locks to work for starters. You have the choice to not use a lock, but that's your own security concern. The analogy doesn't work because a door prevents access to a physical object that can be taken. None of the software that makes use of ilok needs it to work. It's just there to prevent people to use it without paying steinberg. If you want a better analogy, ilok is like buying a door to your house but you don't own the keys that open it. You don't necessarily need an OS to make the PC function. As I mentioned before, the software doesn't need the dongle to work. This is different than OSes not working without a PC. The same applies to MacOS. You don't need an Apple device to run it as it has been proven time and time. Said downtime policy failed when they released Cubase 11 and many people couldn't use the software because of that. Comparing with the software solution, you don't even need to be connected to the internet for it to work. The license only has to be present in the machine. Secondly, many people have internet, but not all have the luxury to have a music store that carries that piece of equipment. The vast majority of music stores around the world don't sell software, let alone dongles. Fair enough. For ilok maybe. For the eLCC, it's two clicks away to send your licenses to cloud and other two to generate new licenses for transfer. Much faster than driving to a store to buy a new dongle. Invariably, you're gonna lose one of those dongles, then not buy another one because you already have the desktop one. Then you're gonna lose the desktop one. A lot of new ilok software only gives you one activation because they work on the assumption that you'll either move that dongle around or have the same cloud session across.