Bruno de Souza Lino

So, the game plan is you start looking at obscure corners of the web for higher SONAR updates then...What do you do once you get to Platinum and you didn't have your account transfer?

The first app already receives 100 thumbs down because the Windows version can only be downloaded through the App Store. Wolfram Tones can give you some rudimentary generational music you can save as a MIDI file.

You should use Voicemeeter's own ASIO drivers instead of ASIO4ALL for that.

I played around it for about half an hour and here are my impressions: Pros: - Large list of amp emulations different from the same old Fender and Marshall you see in every other amp sim. Although it does have your bog standard JCM 900, Fender Twin and so on. - Very CPU efficient. There's virtually no performance hit with 8x oversampling. - GUI resizing done correctly. You can make the plugin window as small or as big as you want and there won't be any blurry text anywhere. Sure, a few of the words in the cab section will be hard to read, but that's about it. The core text elements are big enough that the wind scaling doesn't affect their readability, unlike stuff from Arturia or IK, where resizing the window makes some bits of text extremely small and effectively impossible to read. - You can change the order of the three pedals and rack effects by simply dragging them around. Cons: - While you are indeed surrounded with a large number of amps and such, the focus of the plugin seems to be high gain sounds, as there's a larger number of those models in the library than other amps. - The plugin makes no effort to copy the controls of the actual amps it emulates, other than some visual change in the amp head. That makes the plugin less a shot for shot recreation of the specific model, like you see in the Amplitube stuff, and closer to the NeuralDSP Archetype stuff. If you were looking for that type of feature, you'll be disappointed. - I'm not sure what the "Fire" button does. It seems to either boost or do something to the amp's sound, although it doesn't seem to do anything in the cleaner amp models. - Thanks to the difference in volume between amps, your ears could be blasted with an audio spike for half a second before sound goes to the level it's supposed to be. - The UI you see in the page is not the one in the actual plugin. The actual plugin looks like this: - There's no documentation on how to use the plugin anywhere I could see. This leaves you confused as to what some of the knobs in the cab section do. - There's certainly room for improvement in the cab page. Menu navigation is not intuitive at first and without any tooltips, you'll have to tweak and figure things out for yourself. - The effects section left me disappointed. There's no modulation effects, spring reverb...Once again, reinforcing that this plugin is meant for high gain sounds, not as a general purpose guitar amp sim. - The same problem of not copying the amp's interface is repeated in the FX section, where you'll find that all drive, overdrive and such have the same three controls labelled the same. That makes things like loading the Acoustic simulator hilarious, since it does have a "drive" knob. - While the GUI is resizable, you can't maximize it. I'd say that the plugin is decent and you could get some nice sounds out of it with relative ease. I don't believe it is worth the full asking price of $119, though. There is lack of attention to detail and copy pasting in some places and that makes the plugin look and feel like a half-assed effort. Maybe $60 at most.

And Pulsar Smasher.

I believe we call those people "evangelists", as they literally champion that choice like it is a religion and walk around with that title as if it was something to be proud of.

Pretty much. I'm not saying that you should go around and pirate stuff. Whoever, advocating for the legality of a piece of software that cannot be acquired legally is absurd. It's similar to the situation you often see with people pointing fingers at others pirating these old games and telling you should support their creators when the game is not available for sale anywhere, the person who created the game doesn't own the game and the person who created the game will not be paid if you acquire the game legally somehow. You're simply demanding the impossible.

It looks like it's just a bunch of loose samples with no sampler format or anything as I open it in Wavelab here. Not surprised the marketing was fairly weak.

The vast majority of the user base is not r/unixporn. I could say that the much of the Windows user base thinks Linux is the same operating system they heard about and saw in 1995. Or their base complaint about Linux and MacOS is that it's broken because it doesn't copy Windows' way of doing things. OS are just tools. You can be a user of that tool or be used by that tool. Guess which category people that pick sides falls into.

AVLinux is a custom Debian build with everything installed and already set up correctly. Realtime kernel tweaked for multimedia work and so on. I don't see Windows offering any kernels specifically made for real time operation or something that comes even close to the flexibility and features JACK has. REAPER, Waveform and Bitwig all have native Linux versions with VST3 support. Developers like u-he and Auburn Sounds also have native Linux versions of their plugins. Many audio interfaces, thanks to iOS devices and mobile are now class compliant and you don't even have to install drivers for them. You plug them in and the kernel already has drivers for them. Do you have all the plugins you get in Windows and MacOS? No. In fact, Linux has the opposite problem. Not only you have plugins, you actually have too many plugins. A standard Ardour installation with the regular set of plugins you install from packages can have anything between 300 and 2000 plugins in total.

Maybe they took a page out of the Melda/Babelson/Freakshow Industried book. The latter is special because you cannot tell what their plugins do, thanks to the hilarious product pages and demo videos.

Not every plugin manufacturer has performance in mind, thanks to a bubble developers live in, which makes them think everyone can throw money at performance problems at will and have enthusiast level hardware. That kind of vision was responsible for things like the infamous memory leak bug in Cities XL and the performance issues in Ableton 10, where people all across the board in terms of hardware would hit almost 100% cpu usage because Live would constantly index its own library at every change, assuming every user had access to extremely fast storage with quick access times. Mixbus is notorious for being extremely unstable thanks to its high requirements and can crash even if you look at it wrong.

Upgrade from LE 10.5 to Elements 11 would be $50 for me. I got the upgrade from 10 to 10.5 for free since I bought a piece of hardware that came with LE 10.

Yes, but Cockos is not Image-Line, which will bend backwards and forwards in legal pursuit of people using unauthorized versions on top of encouraging people ratting out potential "criminals". Not to say you should use it past the trial, but Cockos would find ways of preventing you from doing so if they cared about it.

You cannot "steal" a product that's not being sold. Nobody is receiving or losing money on it. Pirating a product that's no longer for sale doesn't damage any IP, unless the IP itself is what's valuable and in that case, you're practicing copyright/trademark infringement, not pirating. Since it's software we're talking about, there's a fundamental problem. Software by itself is worthless. It gets out of date quickly, stops being supported and so on. Is the license that's important. But, you're not selling that license anymore. The car analogy doesn't quite work because: - It is a physical object that can be removed from your possession. - It is parked in front of your property, therefore, not abandoned. However, if you abandon your car in a place that's not your property and never come back to it, do you have the right to demand it's yours when someone else takes it? Even in that case, it doesn't work because it's a physical object. The solution to this "problem" is quite simple. If the product starts being offered again, a license is bought and nobody lost any money.

Samples are provided so you can load them in the sampler of your choice if you don't have the full version of Kontakt.

The best plugins developed by the lead singer of Nickelback.

You don't have to install anything, just grab a copy of AVLinux and run it as a live distro. I took a look around and you have to disable digital in in the Octacapture and are limited to 44.1 sample rate. Otherwise, the kernel recognizes it.

They made the upgrades more expensive? The upgrade from 10 to 10.5 was $60.

Also don't get me started on the countless bug fixes that involve throwing money at the problem. Steinberg does that. Their DAW is perfect. The problem is always your plugins and your machine. And if that bug is capable of being replicated in high end machines, they just plug their ears and go "lalala, I can't hear you!" In the perfect bubble of devs, everyone has infinite pools of money, can upgrade at will and always have the latest and greatest enthusiast level hardware. But I digress. There will be bugs that will never be fixed in CbB either because it would take too much time to do so or would break compatibility with people using old stuff from SONAR. Imagine what would happen if a bug fix solved an issue many had but broke compatibility in such a way that X2 users could no longer use V-Vocal, for example?

Is it OK to call the same minor pentatonic riffs every single time "soloing"?

Do you have that on all compressors you run in Studio One or just the Stock ones?

Some people sometimes run effects chains with analog gear where the analog part is just there to color the sound without altering it. Of course, you have plugins that emulate that kind of saturation giving you control over it but... That doesn't cover the investment on that piece of analog gear. Just because you have all the bells and whistles doesn't mean you have to use them. In most cases, getting the plugin that does the job quicker is better than one that does everything. Sometimes, one knob space in the ProChannel is everything you need instead of fiddling around in something like Pro-R or navigating folders looking for the perfect impulse response. You see guys like Produce Like a Pro doing mixes and they have hundreds of plugins, but always seem to use the same 5 or 6. Then you wonder why people are still using R-Bass and R-Voice. It's because they're simple to get your head around having only 3 controls. Good plugins hide unnecessary complexity from the user.

Mine never work like that. They always have the nag screen from the beginning. That's across installs in different operating systems, different machines and so on. If reaper somehow knows something, I'm a bit concerned.

That would require me installing git and setting up a whole build environment. I just want to make music.