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Tombour mentioned the nag screen. And yes, bug response is a lot better than the big DAWs, however, bug response is simply fixing a program that should work already. It’s actually sign of a broken program, and is likely tto make up a substantial part of the additional cost of Tools or Cubase. THey fix it before it goes to market (LOL yeah right, but thats the theory behind it? )

My point is simply that Reaper IS small time, and treating Justin like the second coming is highly misplaced trust. If you can’t afford the integrated hardware/software path, they are probably the best, but honestly, the time you’d save with integrated solutions is probably worth it. I would only need to save about 20 hours over the life of the product (have a think about how you get paid for your time) and I’d probably be able to justify a proper Protools extravaganza. I’m not earning that much cash, but time is money.

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I’ve spent TOO much time on the development forum there. That’s the problem. There are some really important features that they really should implement (such as a stave view) that have been falling on half open ears for YEARS. Justin actually said he’d implement stave view and was enthusiastic if someone would give him the rules it should follow. Never went forward. If they don’t want to implement, fine, make sure the Rewire works with Notion (big fail), Finale and Sibelius. There are just too many things I see requested that go nowhere. Cockos gives the “impression” they are listening to the users, it’s like any other company out there. If the developer team from Cubase or Protools spent as much time interacting with the userbase on their forum as Cockos does (Sonar is also pretty good at this) then you’d see the big DAW haters flocking back to them. You get silence from Cubase and Tools. The problem is that some users are so desperate for some acknowledgment that they look at Reaper and think they’ve found their lost twin sister. The trial period is another thing that gives people the impression that Cockos “understands them”. If you don’t pay for the software after a month, you are no better than scum stealing Cubase or Protools. The agreement is purchase after 30 days. Violate the agreement, you’re a thief. If you choose to just live with the popup, you’ll get a reminder that you owe Cockos 40 bucks every time you open up, and that you’re a copyright violating thief.

No one is saying that programming a DAW is easy etc, but cmon. If I ran a business the same way, I’d expect the CEO to fire me. If I worked that slowly, I’d expect my boss to fire me.

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ORIGINAL: planetnine

ORIGINAL: Scott

Or, they could offer iLok, C/R, Name & Serial, phone activation code method, etc. and maybe everyone would be happy…well, no, there are those that don’t want any type of copy protection at all…

Well your copy protection doesn’t stop the pirates, but it sure does create a terrible customer experience for many legitimate users. I came across someone who has a cracked SD yesterday. I hate it when people don’t pay for what they use.

I suppose there isn’t an answer, without it you wouldn’t get the revenue to keep the company producing the products.

REAPER isn’t copy-protected, but it didn’t stop me buying a commercial licence. I don’t know if that business model actually works for Cockos, but it makes it much less stressful and time consuming to install.

You make a first-class product Toontrack, but I did get fed up with the hoops I had to jump through while installing. Just keep the libraries coming in and I might forget the pain .

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Reaper isn’t in the same league as Toontrack as far as professional quality product goes. Toontrack can appear in a professional production and be right at home – Reaper’s developers have given the false impression that they are interested in user feedback. I’m truly of the opinion that they are simply implementing changes that they want, steal the ideas of the userbase for direction of featureset improvement, and charging people for a program that would otherwise be freeware. The sheer arrogance of the developer team confirms that Reaper will always be a toy DAW compared to Cubase or Tools. That makes me sad because they have a lot of deluded users worshipping them. I use Reaper because it is less frustrating than Cubase who charge more money than I will pay for a DAW. That doesn’t make it a better platform. Just a cheap one.

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I have a massive bunch of both companies, as well as having heard a lot of Toontrack grooves. I’ve also got Jamstix.

You are really getting a “real” drummer with each pack you buy, because the vibe is quite constrictive, as the OP mentioned – the is because each drummer only has a certain number of licks to work with. The standard four on the floor is really quite restrictive if you want a straight up beat. You can put the kick in a couple different places, different hihat grooves, maybe a little snare ghosting, but rock is rock. It’s called funk if it gets too tricky. Or progressive.

I would HIGHLY recommend Jamstix if you want the chance to get your head around a lot of different styles and vibes. You can feed crappy programmed grooves into jamstix and it makes them “real” as well.

For the record, I’m a drummer as well. It made it much harder to use the libraries and Jamstix, because I have found out I’ve got a VERY progressive and eclectic style, almost fusion despite my metal roots. It’s hard to replicate a drummer with any library – you just have to work within the tools you have and be satisfied with that.

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If you play drums you’ll very quickly notice that 127 velocity snare hits that fast ARE impossible. The maxed out power is only achievable via rimshots, and you can’t hit the drum at 240bpm while hitting the rim “80s style”. If you want the snare to sit up in the mix, use transients and compression and gates. It will still sound fake, but “real” fake, instead of “trigger” fake.

A lot of the interaction with a “real” snare is breathing through the snare wires, interaction with the resonance as you hit it… if you listen to a lot of older grind *Napalm Death!* you’ll hear the snare fading back during the massive blast runs. The key is to have realism. Huge snare blasts at 170-200bpm? Maybe. 240+?? No way. That’s speaking as a guy that has been able to blast cannibal grooves at 260bpm. Besides, a good snare sound is usually lower tuned and less prominent in the mix precisely for the reasons above. We’re all just chasiing Lars Ulrich’s sounds, honestly LOL

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That was pretty brutal. The drums sounded quite fake though, did you quantise the drums too much? Humans chill a bit more than that 😉

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Cheers Martin. REALLY appreciate that… I need something like this and I would happily support TT if they were going to do it, but if not, that’s OK. More support for everyone 🙂

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ORIGINAL: FarBeyond
tried all the POD stuff… distortion is too soft and in the lower B to A to G tunings it loses tightness

Dude, the only way you get the sounds you want (I know what are talking about, I’ve done the Drop A and recently F# and E for A LONG TIME) is by multitracking like crazy. I currently use two different recto sounds (one phat, one super crunchy) and a Soldano sound with some delay to get the massive sounds that are tight enough… It’s physically impossible for guitars to track as tight as the CDs you’re trying to compare to without several amplifier tones. Guitar Rig and POD etc are all tight enough at low tunings, you just need to be realistic about your expectations.

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