We recently had an interview session with the fine people at KiloHearts over at the EDMP Discord
Read more →I’ve update the DAW Chart! I know, you’re excited.
Here’s the features of this update:
- FLStudio 20.5
- Logic 10.4.5
- Reason 10.4
- Mixbus 5.2
- SAWStudio removed - I will not be purchasing the SAWStudio64 update, so it would be perpetually out of date from this time forward. (Also, I hate windows)
- NEW Excluded sections - These sections only count if you manually weight them. They do not show in the “Combined Totals”. This allows me to have highly subjective ratings that are ‘opt-in only’ for total ratings.
- NEW Menu category
- NEW Window Management category
- NEW Subjective Section
- NEW Weirdness Category - how far does the DAW deviate from the norm?
- NEW Comprehensibility Category - how difficult is it to become an ‘advanced’ user of a product?
- NEW Fragility Category - how do a product’s updates (or lack of) impede your workflow?
- NEW Professionalism Category - how well does the product cater to ‘professional’ (money-making) workflows orthogonal to music-making
- NEW Simplicity Category - This is NOT EASE OF USE. Simplicity is related to comprehensibility. It’s ease of understanding as opposed to ease of use. Unlike comprehensibility, this is how little knowledge is necessary to comprehend the primary workflows of the software.
- NEW Bias Category - Like anyone, I have a bias to/for a given product. I have done my best to convey how I feel that I’m biased on a scale of 0-10. Weighted only.
- NEW Preference - My personal preference for the products.
- NEW History - How long I’ve been using the product relative to its total existence.
- NEW Connections - My personal connections to people, testing and my own dependence on the product.
Meta
This post took 11 hours to code, research, text, write and edit.
In the last DAW v DAW post I indicated that JSFX in Reaper may be flawed. I was obviously wrong, I knew I was wrong, and here’s where I explain how I was wrong.
No text today. If you like text, then go read the documentation.
THIS ARTICLE IS WRONG. IGNORE IT
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Even MORE DAW testing. This time we reach the darkest, ugliest corner of Automation across DAWs: plugin automation.
This is a very difficult thing to test fairly, so instead I’ll be walking you through how things can work, how you can test them, and how to express your anger in a healthy manner.
Next in the series won’t be automation. :) (Even though there will be more automation to explore…)
Other posts in this series:
- Part 1: Automation and Fades
- Part 2: Automation
- Part 3: Fader Automation Speed
- Part 4: More volume automation
- Part 6: Pan Laws and Pan Curves
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Bunghole - an aperture through which a cask can be filled or emptied.
Also, an ode to Beavis and Butthead.
Today I’ll be experimenting with my Kali Audio LP8s. A simple “mod” that’s been around almost as long as speakers have been around and the ramifications.
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Recently I took delivery of Eve Audio SC307 and a TS112 Subwoofer.
I live-streamed the unboxing and initial setup, and here’s some information regarding how I tuned the setup and some caveats.
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In the last series I explored DAW fader automation. There’s more to this though:
- Some DAWs have multiple volume automation points, and expectations of what to use.
- Some DAWs may have settings that affect automation.
- Some DAWs are tricky little buggers.
- Some companies are pretty cool.
- Or not.
Please join me as I explore these facets and see more about how automation differs between products.
Other posts in this series:
- Part 1: Automation and Fades
- Part 2: Automation
- Part 3: Fader Automation Speed
- Part 5: Plugin Automation
- Part 6: Pan Laws and Pan Curves
It’s time for everyone’s favorite DAW v DAW series!
Today I’ll be covering a difference that really annoys me: Automation smoothing.
Other posts in this series:
- Part 1: Automation and Fades
- Part 2: Automation
- Part 4: More volume automation
- Part 5: Plugin Automation
- Part 6: Pan Laws and Pan Curves
The review is concluded. A few days earlier than 45 days since I announced it, but nearly a week longer that I’ve been using it for this review in private.
Will it end poorly or end well??
Or will you just never want to visit this website again?
Other parts in this series:
- 45 Days with Ableton Live Suite
- Writing music in Ableton Live: An Overview
- Editing music in Ableton Live: An Overview
- Mixing music in Ableton Live: An Overview
- Live music with Ableton Live: An Overview
- Live's Plugins: A series of miniature reviews
- Max for Live
VALID FOR LIVE 10.1. Future updates may render some of this information invalid.
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Here’s where things get fun for both the novice and the advanced user: Max for Live.
It’s either a $199 purchase, or it comes with Live Suite (as of this writing). I won’t be doing an in-depth review of Max for Live, since that could easily be a series larger than the Live review itself (I believe M4L is more functional and capable than Live). Instead this is an overview of how Max for Live impacts the ability, functionality and value of Live.
Max for Live is probably the most incredible value you can get as a Live user, so let me explain why…
Other parts in this series:
- 45 Days with Ableton Live Suite
- Writing music in Ableton Live: An Overview
- Editing music in Ableton Live: An Overview
- Mixing music in Ableton Live: An Overview
- Live music with Ableton Live: An Overview
- Live's Plugins: A series of miniature reviews
- Everything I like about Ableton Live
VALID FOR LIVE 10.1. Future updates may render some of this information invalid.
Read more →