Vegas has video tools equal to Final Cut Pro, and audio tools that are far superior -- its parameter envelopes and other features revolutionized the audio workstation UI a few years back, lending much to programs like Nuendo and SONAR.
Vegas doesn't have OMF support, which means it doesn't play well with Avid, but it's a pro tool.
Troll?
I just finished working on a feature film. The first two weeks of post production required daily calls to Emagic support. Usually, answers were unsatisfactory.
Logic was supposed to be the primary software for music and sound design, but it was eventually scrapped for more stable and able software.
Shareaza (www.shareaza.com) gives you Gnutella access, and the best search filters around. You can see song length, kbp/s, and many other parameters due to the metadata system.
Well, sure, if you ignore those of us who write, arrange, produce, play, engineer, mix, and master the recordings.
Performing may be where performers make most of their money. But performers are the proverbial iceberg tip of the actual number of people who make a living making music.
SONAR doesn't have the same problems as the Steinberg software.
JACK/Re-wire are not the same thing as having a true plugin synth that is part of the project. You can't do faster-than-realtime mixdowns, you can't see your audio and MIDI side by side in the arrange window, and you can't save the entire project as one file.
BTW, i'm not at liberty to quote him, but i suspect you'd be rather interested by what the CEO of Waves thinks of linux. its a lot more positive than your position.
Considering his position on copy protection, I don't think we'll see Waves products for Linux any time soon. I love Linux, and open source. It's just not feasible to use yet as an audio professional.
Project 5 is not a repackaging -- it's a dramatic rewrite of Cakewalk's legacy MIDI code, something that will become apparent with the next version of SONAR.
Kantos is a completely new kind of synth tool.
Tascam's Gigastudio hasn't advanced much, but the samplers from other companies that play Gigasamples have advanced dramatically. Until there's a Linux sampler that can stream samples from the hard drive, no serious composer or sound designer will switch their studio to Linux.
Ditto for complete pro FX libraries like Waves Gold.
And don't underestimate the importance of good GUI. Musicians want to be able to play their software like instruments. It has to feel intuitive and rewarding to use. That kind of GUI cannot be ignored, and cannot be built piecemeal. It has to be conceived from step one.
Exactly. That's the problem. It's not an integrated solution like DXi or VSTi. With SONAR I can create a project full of audio samples and synth audio, but the project file itself contains no audio. I don't actually have to print any audio until I do my final internal mixdown. JACK is a good eventual replacement for ReWire, though.
I read "ACID Looping" as meaning "can use REX files"
Acid and Rex are different technologies. Rex works primarily with drums, while Acid can be used with any type of audio loop.
I hope you're right about the momentum. I'm tired of silly copy protection techniques, and will probably never buy another copy of Windows.
because of JACK, ardour doesn't have to concern itself with synthesis
JACK is a good start. But it's a kludgy way to work. It doesn't allow for internal mixdowns, or displaying of audio and MIDI tracks side by side in the same arranging window.
ACID looping is not available to any GPL software
Cakewalk reverse-engineered it and called it Groove Clips.
OMF is cool but about to be supplanted by an AES standard
Maybe. Right now, I have to interface with clients using Logic, Avid and ProTools.
I'm really impressed with the strides being taken in Linux audio. But it's still 3-5 years behind what's happening in the Windows world. Hopefully Linux will catch up before I have to buy Longhorn.
Cakewalk started as a MIDI program. Its MIDI arranging and manipulating features are deep and powerful.
Cakewalk didn't add audio features until version 6.
Many people used Cakewalk PA9 for MIDI and other, more advanced programs, like Sonic Foundry's Vegas, or Steinberg's Nuendo, for their audio.
That changed, when Cakewalk replaced PA9 with SONAR two years ago. SONAR has many sophisticated audio features that are not available in Ardour -- built-in Acid looping functionality, Auto-trim, waveform resizing, etc., and cross-compatibility features that are not available on Linux (VST, Rewire, OMF, etc.).
SONAR shines because of the synthesis of audio, video, MIDI and, well, synthesis. Sum is greater than the parts, blah blah blah.
Re:How far back are we talking?
on
An IMDb for Books
·
· Score: 2, Interesting
Speaking of Gutenberg, this project could gain a substantial database if Project Gutenberg's books could be added.
And Project Gutenberg probably wouldn't mind having an index of all books, both public domain and copyrighted, to refer people to.
Sounds like a mutually-beneficial relationship to me.
G2 is not "propietary" (sic). The initial G2 client, Shareaza, is proprietary, and was created by the creator of the G2 protocol to prove it would work.
Now that he's proven it will work, he's finalizing the G2 specs, which he has said he will release this month, which will make Gnutella2 a completely open protocol.
eMule is not a bad client, and currently there's a lot of interesting content on the donkey network. But central servers will be the death of any P2P network. FastTrack is already secretly negotiating the terms of their own demise with Hollywood. The donkey network will be next.
Only serverless p2p has a chance to survive long enough to develop enough non-infringing users to withstand the lawsuits. Right now Gnutella, Gnutella 2 and Overnet are our only choices. My money (and my own content) is on G2.
Check out www.leeware.com for non-infringing content available through the G2 network. And check out www.sharelive.com for a G2 site similar to ShareReactor.
Mike may be young and naive, and a bit arrogant. But Shareaza is the most robust, feature-filled Gnutella client there is, and he did it all by himself. That's impressive.
FastTrack is proprietary and under attack, the donkey depends on central servers and Gnutella is stagnant. Assuming Mike releases the specs this month (as he's promised), we'll have an open source, server-free, super-scaling, global searching P2P network. We've never had one, and that's exciting.
The fact that Shareaza is free as in beer and free as in of-spyware/addware is just a bonus.
The RIAA is a straw dummy set up to be the target of all our abuse, and to do all their dirty work, without damaging their precious brand names in the public consciousness.
If they're going after individuals, I say we do the same thing. Sony, Death Row, Warner Bros., and all the other member companies have enormous resources invested in their trademarked names.
I propose that every time the acronym RIAA is used on Slashdot, or elsewhere, we put the name of a member record company in parentheses following, as in RIAA (Maverick Records). Let's see how they like being singled out for the actions of many.
Names of individual member organizations can be found at http://www.riaa.org/About-Members-1.cfm.
Slashdot Mirror
Vegas has video tools equal to Final Cut Pro, and audio tools that are far superior -- its parameter envelopes and other features revolutionized the audio workstation UI a few years back, lending much to programs like Nuendo and SONAR. Vegas doesn't have OMF support, which means it doesn't play well with Avid, but it's a pro tool.
Or you can get a $700 PC, spend $400 on Vegas Video and have a high-end video editing workstation for $1100.
Troll? I just finished working on a feature film. The first two weeks of post production required daily calls to Emagic support. Usually, answers were unsatisfactory. Logic was supposed to be the primary software for music and sound design, but it was eventually scrapped for more stable and able software.
That is if you consider Logic to be professional. The latest version is behind on features and stability -- it even crashes if you try to export MIDI.
There are a couple in early development stages, including G2Wire. (http://sourceforge.net/projects/g2wire/)
But until the G2 protocol specs are officially released (probably this week), we won't see any clients for Linux.
Shareaza (www.shareaza.com) gives you Gnutella access, and the best search filters around. You can see song length, kbp/s, and many other parameters due to the metadata system.
Well, sure, if you ignore those of us who write, arrange, produce, play, engineer, mix, and master the recordings.
Performing may be where performers make most of their money. But performers are the proverbial iceberg tip of the actual number of people who make a living making music.
SONAR doesn't have the same problems as the Steinberg software.
JACK/Re-wire are not the same thing as having a true plugin synth that is part of the project. You can't do faster-than-realtime mixdowns, you can't see your audio and MIDI side by side in the arrange window, and you can't save the entire project as one file.
Considering his position on copy protection, I don't think we'll see Waves products for Linux any time soon. I love Linux, and open source. It's just not feasible to use yet as an audio professional.
Are these really synth plugins that can be used inside a Linux audio workstation, or are they standalone apps?
Project 5 is not a repackaging -- it's a dramatic rewrite of Cakewalk's legacy MIDI code, something that will become apparent with the next version of SONAR.
Kantos is a completely new kind of synth tool.
Tascam's Gigastudio hasn't advanced much, but the samplers from other companies that play Gigasamples have advanced dramatically. Until there's a Linux sampler that can stream samples from the hard drive, no serious composer or sound designer will switch their studio to Linux.
Ditto for complete pro FX libraries like Waves Gold.
And don't underestimate the importance of good GUI. Musicians want to be able to play their software like instruments. It has to feel intuitive and rewarding to use. That kind of GUI cannot be ignored, and cannot be built piecemeal. It has to be conceived from step one.
Then show me the JACK-based plugin synths and samplers.
I was also at NAAM. Did you see Project 5 from Cakewalk? Kantos from Antares? MindFX from FXpansion?
The new Gigastudio sample-streaming plugin samplers from Native Instruments and MOTU?
Show me the equivalent products on Linux.
Exactly. That's the problem. It's not an integrated solution like DXi or VSTi. With SONAR I can create a project full of audio samples and synth audio, but the project file itself contains no audio. I don't actually have to print any audio until I do my final internal mixdown. JACK is a good eventual replacement for ReWire, though.
I read "ACID Looping" as meaning "can use REX files"
Acid and Rex are different technologies. Rex works primarily with drums, while Acid can be used with any type of audio loop.
I hope you're right about the momentum. I'm tired of silly copy protection techniques, and will probably never buy another copy of Windows.
JACK is a good start. But it's a kludgy way to work. It doesn't allow for internal mixdowns, or displaying of audio and MIDI tracks side by side in the same arranging window.
ACID looping is not available to any GPL software
Cakewalk reverse-engineered it and called it Groove Clips.
OMF is cool but about to be supplanted by an AES standard
Maybe. Right now, I have to interface with clients using Logic, Avid and ProTools.
I'm really impressed with the strides being taken in Linux audio. But it's still 3-5 years behind what's happening in the Windows world. Hopefully Linux will catch up before I have to buy Longhorn.
Heh. Ignoring the MIDI side.
Cakewalk started as a MIDI program. Its MIDI arranging and manipulating features are deep and powerful.
Cakewalk didn't add audio features until version 6.
Many people used Cakewalk PA9 for MIDI and other, more advanced programs, like Sonic Foundry's Vegas, or Steinberg's Nuendo, for their audio.
That changed, when Cakewalk replaced PA9 with SONAR two years ago. SONAR has many sophisticated audio features that are not available in Ardour -- built-in Acid looping functionality, Auto-trim, waveform resizing, etc., and cross-compatibility features that are not available on Linux (VST, Rewire, OMF, etc.).
SONAR shines because of the synthesis of audio, video, MIDI and, well, synthesis. Sum is greater than the parts, blah blah blah.
Speaking of Gutenberg, this project could gain a substantial database if Project Gutenberg's books could be added.
And Project Gutenberg probably wouldn't mind having an index of all books, both public domain and copyrighted, to refer people to.
Sounds like a mutually-beneficial relationship to me.
(www.gutenberg.net)
G2 is not "propietary" (sic). The initial G2 client, Shareaza, is proprietary, and was created by the creator of the G2 protocol to prove it would work.
Now that he's proven it will work, he's finalizing the G2 specs, which he has said he will release this month, which will make Gnutella2 a completely open protocol.
Check out this thread on Shareaza's forum if you want to read Mike's thoughtful response to Vinnie.
D =5 138
http://www.shareaza.com/forum/viewthread.aspx?I
I said the network would be open source, not Shareaza.
Mike has said he will release the G2 specs this month.
eMule is not a bad client, and currently there's a lot of interesting content on the donkey network. But central servers will be the death of any P2P network. FastTrack is already secretly negotiating the terms of their own demise with Hollywood. The donkey network will be next.
Only serverless p2p has a chance to survive long enough to develop enough non-infringing users to withstand the lawsuits. Right now Gnutella, Gnutella 2 and Overnet are our only choices. My money (and my own content) is on G2.
Check out www.leeware.com for non-infringing content available through the G2 network. And check out www.sharelive.com for a G2 site similar to ShareReactor.
Mike may be young and naive, and a bit arrogant. But Shareaza is the most robust, feature-filled Gnutella client there is, and he did it all by himself. That's impressive.
FastTrack is proprietary and under attack, the donkey depends on central servers and Gnutella is stagnant. Assuming Mike releases the specs this month (as he's promised), we'll have an open source, server-free, super-scaling, global searching P2P network. We've never had one, and that's exciting.
The fact that Shareaza is free as in beer and free as in of-spyware/addware is just a bonus.
We're going to make it illegal to have oral sex in your own bedroom. To protect public morality, of course. How can such a law be enforced?
X10's new groin cam!
I get both my local phone service and my cable ISP connection through the same cable, from the same corporation (AT&T).
Seems as though a coaxial cable can function as a telephone line.
The RIAA is a straw dummy set up to be the target of all our abuse, and to do all their dirty work, without damaging their precious brand names in the public consciousness.
If they're going after individuals, I say we do the same thing. Sony, Death Row, Warner Bros., and all the other member companies have enormous resources invested in their trademarked names.
I propose that every time the acronym RIAA is used on Slashdot, or elsewhere, we put the name of a member record company in parentheses following, as in RIAA (Maverick Records). Let's see how they like being singled out for the actions of many.
Names of individual member organizations can be found at http://www.riaa.org/About-Members-1.cfm.