Well in order to have an urge to use this forum you a) need to be a Reason user and b) need to be old enough to have an interest in dabbling in forums instead of using social media like reddit, facebook and things like that which restricts the possible number of users immensely

True, but just having Essentials requires one to have another DAW to host it - which just seems cumbersome (hence the desire to have (at least) Essentials integrated into Reason. You need full Editor to run by itself, and while it's vastly superior to Essentials in every way, it's goddamn expensive...

When you do real melodyne sessions (as in doing paid work on vocals) you mostly sit in the melodyne UI for hours anyway, the process of exporting and re-importing the audio is negligible time wise. So it doesn't really matter if you're using the standalone version or the plugin version. Add to that ...

ok, are you telling me that visual feedback isn't important. now i have to admit, 80's type 3 or 4 knobs only compressors are better than any of other VSTs. fabfilter Pro-C, iZotope Ozone 6, and rest of others are dumb ass, worthless devices. specially Pro-C Innovative compression displays are extr...

Uhm.. Its a notification about something new (you've been quoted, your post has been thumbed up). If you see the post it refers to the notification is removed. Similar to the little number on your SMS symbol on your phone...

http://gizmodo.com/this-audio-illusion-will-make-you-never-trust-your-ears-1593113324 don't trust your ears before your eyes Thing is when people get your music they also just HEAR the music and don't read anything. So psychoacoustics is something to work with as well - and that can only be achieve...

esselfortium wrote:

normen wrote:Skinhead of Conner

Is this autocorrect or did something happen

Dunno, ask her ^^

Jagwah wrote:

Muhah.. Kinda funny cause Skinhead of Conner hated compressors.. Her engineers had to do everything with fader automation, she put a big sign saying "NO FUCKING COMPRESSORS" on their mixing desk ^^

To me compressors are somewhat like microphones, theres the right application for almost all of them. VERY hard to say which one would be "the best" - I try at least three different ones on each signal and I often end up with unexpected choices.

this discussion is just making me jealous because I don't have the ears to differentiate the subtleties in compression that you guys are hearing :P I can distinguish a peaky signal from a squashed signal, and I can tell when a compressor adds some saturation to a signal, but I certainly can't hear ...

selig wrote:IMO neither of you crucified anyone here as far as I can see!

What I mean is theres no need (for me) to crucify any developer for creating a device I don't personally like. But yes, I reserve the right to say it when I think something sounds terrible.

As far as Normen goes, nothing was unclear, except you are wrong about one thing that's for sure.. the attack does not allow peaks through and even grabs the first one at playback after transport is idle (unlike some other compressors I can mention *cough*). Perhaps if you spent more time with it y...

So its like I said, the AV keeps the process from starting.

FileVault only works for your internal drive, as soon as you copy the files somewhere else they get decrypted on read and don't get encrypted on the external storage. Given that media (audio, video) still produces relatively large files and in Europe at least Gigabit connections aren't really common...

I guess I can't explain it more thoroughly than I did. What was unclear about what I said? Attack and release are the essential sound of a compressor - unless you're the kind of guy who's looking for "magic" in transformers or tubes..

Maybe the background process was able to start when the antivirus was off and when the antivirus was turned on it couldn't stop the process. See what happens after a reboot.

Do you only have doubts or did you try disabling the anti virus software?

Heh, I can't speak about coefficients as I didn't measure a wall of records but if I was given the choice between a whole wall of records and 5cm of fiberglass or mineral wool across the wall I'd probably pick the records - if we're talking as low as 500Hz - I mean thats about 30cm depth of paper an...

hydlide wrote:I sense a disturbance in the force...

Remember that most sound behaves like light, so something that is reflective to light will also be reflective to sound above the 2-500 Hz range - porous surfaces are even better at absorbing, remembering that the higher the frequency the smaller the wavelength and smaller wavelengths will be absorb...

I'm wondering if you can elaborate on what you "hear" that is terrible. do you hear artifacts at high levels of compression? are there any phasing issues at the crossovers? The attack and release seem completely program independent. For the release its either pumping or staying closed and for the a...

Heh, its kind of awesome how theres talk about the history, design etc. of this "device" - as if it was a real piece of studio gear. Not saying that in effect it isn't - but could you imagine getting nostalgic about Word 3.0? Loving this - Reason 4 life ^^

More great advice, thanks guys. Another nooby question if you dont mind: I have one of these big ikea shelves full of records and stuff, would it be a good piece of furniture to use in a studio to help treat the acoustics? http://www.ikea.com/gb/en/catalog/products/50301543/ With books and records ...

boobytrap wrote:indeed !

How else Fabfilter come up with such a brilliant idea?

Your point being? If you rather like to read what you're doing then I'm fine with that. 4dyne has all the visual feedback I personally could ever want - if I was using it.

boobytrap wrote:what about the workflow ?

In my experience audio engineers should rather listen than read.