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Everything posted by irvin

  1. Hope you sell it - but it will be a very difficult task, as it's not i-lok protected, which means that 99% of potential buyers know where and how to get it for free. I made a decision that I will not pay big bucks for stuff that is available on warez sites. I want to be able to re-sell if necessary. Now, that does not mean I will get them for free, it means I will buy a different product (with I-lok protection) or a competing product with a much lower price tag. Good luck with your sale!
  2. Interestng prodiuct. On the surface, it looks like a regular compressor with a huge look-ahead time.
  3. I would only buy a controller that completely eliminates the need for mouse actions when tracking and mixing. Otherwise, it's just more clutter on my desk - but that's just my opinion (I'm into making and keeping things as simple as possible).
  4. I like Samplitude a lot - but the upgrade price plus added features will determine whether I keep it or just move on. I only need a couple of things (manual transient detection and manipulation ["audio snap"] and general bug fixes). The days of paying over one hundred dollars for upgrades are gone - at least for me. I seriously doubt Samplituide will sell a lot of copies without a drastic price reduction accompanied by an organized marketing strategy (at least in the USA).
  5. The emulation scam has worked like a charm because a lot of people think that the secret to the Beatles' success was the console used...lol..
  6. I downloaded the demo and have mixed feelings about it. At first it sounds really impressive, it takes very little to make drastic changes to the signal. After a while using it, it becomes apparent that a 1db change on this plugin equals like 2db on other eqs (i havent't actually measured it, it's just a form of expression). Nothing bad about it: i mention it because that's the reason it feels like airEQ is different from others. Careful tweaking of the settings on competing products like FabFilter EQ2 exactly match the results obtained with AirEQ. On the other hand, airEQ seems to allow for a faster, more intuitive workflow.All in all, it sounds great - at something like 50 bucks it would be a no-brainer. At the $100 introductory price it strongly appeals to my GAS condition - but honestly, I don't think It brings something I can't do with the stuff I have. I don't know...maybe I wil accidentaly press the buy button...but still on the fence on this one...
  7. #1 is the rule of thumb that 95% of everything is rubbish #2 is that plugins should be good for fixing something or wrecking something #3 is avoiding plugins that achieve both things in #2 at the same time Most plugins basically do what they are supposed to do. Problems begin when they are used as magical potions to fix bad recordings - why would a track need 32 bands of EQ? Why should a compressor be asked to do distortion-less 17db gain reduction on 0.3ms attack? Why should anyone expect transparency on a master limiter asked to tame 9db peaks after 12db gain to obtain -7db rms? A good recording needs very little in terms of plugins. Asking a plugin to do dramatic changes to a track is usually a clear sign of a bad recording or performance. A clean signal from a good musician is 95% of the work...
  8. Hofa's reverb is pretty good (don't have it - but saw it in action at a friend's studio). The widely praised Valhalla plugins, on other hand, have never felt right to me - they sound absolutely pedestrian, but it's probably a matter of taste.
  9. Very true - that's why most people have several of each. That said, there are some that are truly outstanding if given the time: PhoenixVerb, SonEQ Pro, B2, etc. come to mind.
  10. With the deluge of free and commercial plugins, i made a decision several years ago that I would not have more than 5 plugins of the same 'category' (loosely defined as 'compressors', 'delays', 'eqs', 'channel strips', 'limiters', 'gates', 'stereo fx', 'amp sims', 'reverbs', 'utilities', 'vocal fx', etc.) I don't have 5 of every category - for example, I only have two gates. Luckily, I have been able to keep to this self-imposed limit by carefully choosing plugins that score well in my favorite fields: sound, ease of use, features, price. So, what's yor criteria for selecting your plugins? how many do you have? Which ones are your favorites? Let's go full gearslutz here...the forum needs some life....
  11. Inspired by the recent Softube Console 1 thread, I wanted to share an idea that has proven very useful in my permanent quest to speed up the workflow while minimizing the amount of hardware: the use of a gaming keyboard. I paid about $90 for a Corsair Raptor K50, which has a set of 18 programmable keys on the left side. I use them for my most common tasks: navigation, transport and recording. Some keys are used for: next track, previous track, arm for recording, mute track, solo track, show inserts, show sends, media browser, etc. Some other keys are for: record, delete previous take, advance cursor to next grid division (i like to keep snap activate most of the time), rewind, expand vertically, collapse vertically, expand and collapse horizontally, etc. Hopefully, someone will find the idea interesting or useful (not my original idea, of course, just my own variant).
  12. It should be made clear, though, that you do need the mouse and keyboard in addition to the C1 because it only controls the softube plugins. In other words, the C1 is a plugin bundle from Softube with a dedicated hardware controller for those specific plugins and nothing else. I agree 100% that if you're happy with it, that's all you need.
  13. Seems like a whole lot of money for a dedicated controller ('dedicated' meaning it only works with Softube plugins) - it would be a whole different story if it had some sort of compatibility with all plugins. Another 'con' in my view (just from the specs and reviews - I don't own one) is the lack of a volume knob. In my experience (and this is just my taste, not criticizing anyone or saying the product is bad), any controller that requires switching between a physical surface and a mouse/keyboard will eventually become nothing more than clutter on my desk. Been there, done that: Faderport was eventually replaced by $5 stickers on my computer keyboard...
  14. I use Sweetone and SonEQ Pro - they are very good for brightening tracks and broad eq. Very simple and hard to make sound harsh. Satson is ok, but I haven't used it much. Truly outstanding product and a real steal compared to similar products. My guess is that this type of plugin will appeal the most to people who prefer to not get very 'surgical' with equalization. You won't be able to dial -3.47db at 6.7Khz with a .2Q. But if you are into using eq for working the tone, you will probably love them. Sweetone is a 'sweetener' along the lines of Clariphonic and Maag - as good as those two, but much cheaper.
  15. Just received this jewel of a marketing communication from Sonoma WireWorks (a company I never heard of until now): Become a DrumCore 4 Beta Tester Rebuilt from the ground up, DrumCore 4 is an AAX/VST3/AU plug-in instrument with royalty-free 24-bit audio loops, MIDI loops, and multi velocity sampled drum kits. Most of the 1st Wave of beta testers have received their beta drives. It will be sent to others as more systems are supported. Get your hands on the beta! 1st Wave - Mac: DrumCore 4 Prime Flash and DrumCore 4 Ultra AAX/VST3/AU Plug-in Beta for 64-bit hosts [...] To apply to the beta program, pre-order DrumCore 4 (Lite, Prime or Ultra) or any DrumCore 4 Upgrade. You will be emailed an application to the beta program. New DrumCore 4 Installation Videos, a Quickstart Guide, FAQ, and a private beta tester forum have been posted to help with testing. [...] *************************** I'm really dying to pay in advance for some unfinished product in order to have the honor to help the developer fix all the bugs...lol Pure marketing genius!!!!
  16. Once again, do not let your failures cloud your judgement. The world is perfectly fine and all that envy only exist in your heart. But if you really believe your own lies, just go ahead, make your own 'beautified' and 'highly processed' hit...collect the money and get that much-desired 'ROI'...lol... End of thread for me.
  17. Nice try at retracting your previous statements. Here's the proof: #1. You DID state "The fact that everybody is recording from bedroom upwards is good for MI manufacturers, and for no one else. The downsides prevail." - what 'downsides' were you talking about???? #2. What do you think the record labels are doing, if not that? #3. "Happy" and "GangNam Style" are not "abundant", "exchangeable" products with "only some weeks of shelf life". They are legitimate hits that a large number of people actually like and enjoy. You even called Sasha "naive" for saying that music has the power to make people happy and argued that it was just a product, like toilet paper. If that type of music is so "abundant" and "exchangeable", why aren't you and your friends making easy millions producing some "garbage" for the world to consume? #4. You have been pissed at me for a while because I don't buy into your BS. You want to be perceived as some sort of "expert", but your techno-babble and pseudo-scientific nonsense is easy to spot by most normal people. You are constantly putting people down, like you have any real credentials other than the poisonous envy brewing in your heart. You are a bitter individual, angry at the current state of recording technology and industry. I'm not your enemy - your biggest and only real enemy lives in the mirror. Go and talk to him. I have nothing to do with it - I'm just another one in the billion fellow "nobodies" that you despise. Don't for a secon think I'm being a little too rash with you. Just look at this sentence you wrote a couple of posts ago: "Making music is not a question of recording in a cheap home studio. Making music is playing or singing, performing. Making 'good' music is as well not a question of playing in front of thousands of people, or selling 100.000 copies." Should we infer, then, that making music is a question of recording in an expensive commercial studio? Shouldn't we naturally assume that people who play in front of thousands of people and sell hundreds of thousands of copies are the ones making "good music"? Should we assume that YOU, and not Phareell Williams is the one making great music? ...lol... Gimme a break...lol... There is something clearly wrong with your thinking. That's what you have to focus on, not on hating the people who have the balls to call your thinly-disguised BS.
  18. It's the language. My bad, sorry. I try again: "Business is not the scope of the majority of home recording studios, as well. So, home recording is yet another story, apart from Music and Music Business, as home recorders typically are not doing any business, and recording is not the same as making music (as in performance)." Much better, but it's still not very clear what you find at fault with "home recording". You stated previously: "The fact that everybody is recording from bedroom upwards is good for MI manufacturers, and for no one else. The downsides prevail. " So, somehow you think people having the opportunity to make some music on their own is bad. There are no 'downsides' to people making music on their own. Eminem is not suffering because there is some unknown kid in Amsterdam recording and mastering his own (good or bad) songs. You have a problem with the current state of the music industry because blaming it on the government, the record labels or other musicians makes you feel better about your own failures as a musician or business man. There is no other explanation for your irrational position - why on earth do you think all the great resources available to people for very little money is bad for anyone? How is it bad? Your position amounts to: "I'm so pissed at the recording industry, with all those guys using semi-pro equipment to record their songs. I don't get much business because of them and because of the companies (software/hardware manufacturers) that empower them. I'm also pissed at the record labels for doing what they have done forever: promote their artists and make a profit from it. I'm pissed at people who think 'Happy' and 'GangNam Style' are good music that makes people happy (why would anyone buy music they enjoy?). I'm really pissed at anyone who doesn't see a problem where I see one." In essence, you are making arguments to prove your unfair and totally irrational position. You are trying to prove that 2 + 2 = 5. Thus the crazy nature of your posts, the verbal contortions to provide a foundation for a position without any basis in reality. Don't expect too many people to agree with you...
  19. I think you have nothing concrete to say - just a collection of rambling an often contradictory statements passing off as some sort of position. Perhaps it's the language, perhaps it's you. I don't know. Take these sentences, for example: "Business is neither the scope of the majority of home recording studios. So yet, another kettle of fish" - i have no idea what that means. Perhaps if you were to take the time to make a coherent argument, people would offer comment on it. As it is, you are coming across as a guy bitter at the music industry and fellow unknown musicians for some vague reason. Nothing more than that, to be frank.
  20. You are not doing that well if you are complaning (as you did two posts ago) that you and your friends are not seeing a "ROI". Don't share your frustration and people won't comment on them. That said, if you insist you are doing great, fine, even better for you!. So, what's your point? It has always been like this: a tiny fraction of the musicians recording their music makes a profit or achieve fame and success. The vast majority toils in obscurity - often for the love of music and nothing else. There is nothing wrong with that. The greater number of people having access to recording technology is not a problem, contrary to what you claim. Music today is not any worse or better than before. Just different. Accept it. Stop believing you own lies: what makes you (or me, or most people) qualified to determine who deserves to record and who doesn't? You criticize the record labels, but you are trying to do the exact same thing they do: filter opportunities based on...your own ideas! Stop believing the lies: there is a lot for very capable people out there (some here, some on GearSlutz!, everywhere) making wonderful music, great-sounding music because the recording opportunities are abundant today. You don't *necessarily* need a mixing engineer, a mastering engineer or even a commercial studio any longer (this is the real root of your problem). Let's be honest: what makes a "mastering engineer" other than putting up a sign calling yourself a "mastering engineer"? It's not a college degree. There is no exam to pass to prove competency in the field. There is no certification. Anyone can claim to be a "mastering" or "recording" or "mixing" engineer. It's not the equipment - anyone can buy a great piano, regardless of playing skill. It's a fake title. Some people are great at it, some are so-so and some are bad. How do you determine which one is which? That's the problem for people like you: your fake title's value has plummeted. But that's your problem - and putting people down will not solve it. Your only hope is to begin making good music - with "good" meaning music that a lot of people actually like. Sitting in a little room complaining to other frustrated musicians that today's music sucks and pretending that "Happy" is a bad song will not solve your problems. It will only make you even more deluded (look at you: embracing piracy as harmless while claiming that not everybody should make music!!!!). We live in great times and everybody is blessed to have an opportunity to pursue a musical dream, regardless of talent or intentions. That's the way it should be. Good for all, all for good! (corny, right?)
  21. You don't need to share your problems. You only need to be more intelligent and fair when expressing your views in a public forum. People have a right to call your bluff, to expose your nonsense. Stop hating the "nobodies", because you are one of them...lol...what makes you believe you are better than any of the people making those "democratic productions"???? You are a nobody, just like them. Accept it. You are not doing well. Accept it. Don't blame others for your "professional" frustrations. If telling you the truth makes me a jerk, I fully embrace my role. I may even be a troll, too...lol...
  22. The fact that YOU have invested money on equipment without seeing a profit only means you are part of the crowd of mediocre/untalented nobodies you despise. There is a lot of people making music and making money from music - their efforts and talents are rewarded. Then there is the rest. As simple as that. Blaming technology for your own situation is absurd. Pretending that the music you don't like is bad (based on what, your taste?) is arrogant at best and totally insane at worst. There is a lot of great music being made today - just go ask any young or unbiased observer. The reason artists today don't seem as good as those in the past, is not related to talent: Janis Joplin was not any more talented than Amy Winhouse. The reason is quite simple: music is entertainment, not a basic need. And nowadays, people have a whole lot of entertainment options, as opposed to 50 or even 25 years ago, when all we could do was listen to the radio. Music - for better or worse - is losing the battle to stay relevant, it's going into the background. People find music accompanied by video far more interesting than music alone. And rightfully so. Get on with the times...there is nothing wrong with today's artists or music scene. Music still has a place in our lives, only on a less important or prominent role. It is good for everyone that musicians of all calibers (from the worst to the most talented) have access to this wonderful technology. Finally, I find it very puzzling that a guy like you, who is constantly embracing and justifying piracy and railing against record labels and the establishment in general, all of a sudden opposes the widespread and democratic use of cheap technology by the masses. Because It hurts your business...lol...man, have a bit more compassion and integrity.... Maybe you should embrace I-lok as a means of deterring all those teenagers from recording, mixing and mastering 'bad' (as in 'I never had a hit, either, but theirs is bad, mine is good') music in their bedrooms, negating the need for people like you....lol...
  23. Yes, you can hear artifacts in music today, but rest assured that they are far less prominent than the hiss, clicks, pops, distortion, crackle, skipping and general noise of the now-glorified LP's. Look at the whole picture: for many years, the average person listened to music in terrible-sounding little radios. The great artists of the past were recording in less-than-optimal conditions, their recordings released in products that began to sound worse with every play and their music being played in bad stereo (or mono) systems. The fight against noise was a real issue back then (and until rather recently). Dolby, metal tape, special tape formulas for cassettes, etc., were the result of that fight against the high noise floor. Today, all equipment is much better: the despised MP3 files on an I-Pod with a $10 SkullCandy pair of headphones is a far better listening experience that what the average person could get until as recently as the late seventies, late eighties. (Audiophiles existed then, as they exist today, but they are the exception, not the rule). You would be surprised (shocked, really) if you were to sit down *today* in your recording room to listen to an LP straight form a turntable. The sound is distorted, brittle and generally not very pleasant. We accepted it and liked it because that's all we had, not because it was good. I certainly don't miss having to clean the needle, having to keep a bottle of some liquid to clean the LP's and having to do what the 'audiophiles' did: not play the music because the LP would sound worse with every pass... I don't know about others, but i love the sound of a lot of music today, especially the incredible clarity, sheen and air in good recordings. Yes, there is a lot of crap (mostly due to the fact that almost anyone can record a song for peanuts these days) as you rightfully say. But if we compare the best of today with the best of the past, there is no competition: we are living in great times. Listen to Pharell's Happy - it's not the best mix in history. Nothing particularly exceptional there. The music is not the greatest music in history. But it exemplifies what is great about the present: great music, great sound, great artists. That's what music is about - and there is plenty of that available today if we want to concentrate on the good. To me, this is the best time in history to make music, but what you might be perceiving is a different issue: music is just not as important or present in people's lives as it was before we got all this sh*tload of entertainment alternatives fighting for our attention and time. Music has moved to the background, but it has nothing to do with the sound, artists or music itself. But that's a different topic...
  24. I didn't miss your point. People never 'demanded' great sound - now or two decades ago. Or 5 decades ago. There is this illusion that the recordings of the past were better, that people today are not making good music and that the public is getting garbage. It's just that: an illusion. The average 256 MP3 today sounds just as good as the LP's of 30 years ago. Not to mention that the glorified LP's of the past sounded worse with every play. There is great music being made today, music that sounds great - just like at any other time.
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