So the Props are the Studs now? xD

Nice update - makes a lot of sense imo.

Man if yo want to learn the compressors, take one compressor and attempt tweaking all your necessary instances with that one only. You'll soon learn the character and reason why compressors are different, including their recovery, response times, transient detection, distortion, curves, and anythin...

Idk, most of those sounds seemed resonanc-y to me, as if there was too much audible EQing on them. I wouldn't say masking is an issue there.

Marco Raaphorst wrote: ↑

08 Oct 2018

yes, except for audio recordings. only staff.

Well thats just added, right? I mean how to arrange it, what instrument to use, what brand of instrument to use, what miking technique to use, what mike to use - thats pretty much a straight line.

Technically thats what for example traditionals are, right?

I'd say arrangement would be a better solution. You have issues with things pushing each other away too much because they occupy the same "space-time" (i.e. masking). Usually these things are solved by actually playing - i.e. "making music". Say you have a synth and you want to keep up with the snar...

That sounds like the multi-million dollar studio category, which is ready to record a whole orchestra, band, anything, really (especially "anything", and "really"). Where real-life authentic reproduction is desired. What I look at, is kind of like Jean Michel Jarre's philosophy when he made Oxygen,...

amcjen wrote: ↑

04 Oct 2018

Whoa, nice. And yeah, OLEDs are SO MUCH cheaper than an LED ring - crazy but true :/

I think these engineers with a butt load of compressors set and forget, that is to say they get a good setting and that's where they leave it. If it works, fine. If not, on to the next unit. At least this is what I've ascertained from reading interviews with Brauer, Blake et al. I will defer to any...

There is something I don't get in compressor's marketing technique. They always say it's a super fast compressor yeee. But I tend not to use very fast attacks as much as possible. Am I nuts ? It just sounds better to me. Back in the day it was actually technically hard to make a compressor fast. Bu...

In my experience the better the results of engineers are the less they did to the material. It's about avoiding mistakes and using the devices to their maximum potential. Thats why engineers care about added headroom from balanced signals and low noise devices, why they buy expensive microphones whe...

selig wrote: ↑

04 Oct 2018

Honestly, the ones I'm using the most these days are the crazy prototypes I'm building in Reaktor - very thankful for VSTs in Reason.
Selig************** compression on everything!

Maybe make that underscores next time, I thought you were swearing at first

Firmly in the „all of them“ camp. Compressors to me are the only „esoteric“ gear where I really want different devices because I know I can‘t achieve everything with one flexible device (like for EQ). And they often surprise me where some compressor I wouldn‘t have thought works on some source sudde...

What to do folks consider a “small room” these days? I have 8” woofers and a 12” sub in a 9x10’ room that sounds great (considering the standing wave issues). I’ve never understood the “don’t pump low end into a small room” advice, since you want all frequencies possible on at least one of your sys...

The oldschool way would be a constant sine signal on a channel with a gate that has it's sidechain fed by the snare signal. But nowadays you usually have the snare as a MIDI track anyway so just throw in a synth track to play a short low sine with the same pattern as the snare.

Well... it didn't work the way I imagined it. T_T Seriously, this is heartbreaking. I would have already been happy, if I had found a way to at least make sound design more easy. Especially when we synthesize completely new sounds, things can go wrong very quickly on the frequency spectrum. How are...

Yeah, so to compare apples with apples did you compare Bitwig and Reason with modulation? Would be interesting to know. What you mean by that? Do you want to compare Bitwig's vs. Reason's modular capabilities? Or compare performance of a VST that's modulated by e.g. Reason's Pulsar and Bitwig's LFO...

Well I posted my results a long time ago. To really have comparable circumstances I opted to test the performance of the Softube plugins in Logic on a live channel and in series. The same in Reason. Result: Same instance count. That's great news - once Props release the VST-performance fix, I look ...

If you'd like to take modulation and other settings into consideration, knock yourself out! I'd love to hear about your results. Well I posted my results a long time ago. To really have comparable circumstances I opted to test the performance of the Softube plugins in Logic on a live channel and in...

EnochLight wrote: ↑

29 Sep 2018

Just maybe not what people are thinking of when they want a basic "how many of VST-X can I get in Reason since I can get Y amount in DAW Z"?

Well I can get 100 or 10 instances of the same plugin in Logic - depending on the settings and them being played live etc. How do we account for that?

EnochLight wrote: ↑

29 Sep 2018

No, I haven't. I'm specifically interested in VST-performance (as in, "per count") with this particular poll.

But the poll refers to other DAWs and "comparable" performance?

The modular rack nature of Reason means that there is no way to directly compare "performance" with other typical DAWs. It is highly dependent on your style of routing/CV and the kinds of VSTs you use. So this poll isn't especially meaningful. i voted option 3, because i understand that the modular...

Four guys are talking about this marketing image. I think it worked

Careful, thats not a good view as an artist. It's the same as saying "Oh I recognize that chord pattern, it's so over-used and thats why it bores me". Not very practical attaching that to everything if you want to make music. The music doesn't care about your prejudices, it will just go back to the ...