Just Found This Free DAW

Started by Hurricane, March 25, 2017, 02:33:34 PM

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Hurricane

 8)

Release promo on DAW :
https://www.magix.info/us/forum/release-new-music-maker-now-available-for-free--1188035/

Download :
http://www.magix.com/us/music-maker/

From what I see it might be a cool deal at the price heh heh heh .

I'll let ya'll know .

HR

:)

Antonuzzo

Let us know how you get on! Too bad the free version doesn't incorporate VST, but the paid-for version looks like a good deal too.

Kenmac

Actually there's a workaround to incorporate VST instruments that was posted over on the "Hosts" section of the KVR website, It's the 4th post down written by Bob Bobwood:

https://www.kvraudio.com/forum/viewtopic.php?f=7&t=481701&start=30



"Let them brush your rock and roll hair."

Hurricane

 :o

EZ peasy download , no issues with Windows 10 - Yeah I was amazed at this happening so easy as I mentioned .

Fired up the demo , I was impressed - 64 bit resolution big time  .

I'm using the new T.C. Helicon VL3X I've had for a week now as my source to input recorded loops/tracks .
I'm really impressed with the FX engine it sports for vocal and guitar .

The Bodyrez presets ( 5 ) get the quack out of piezos on my steel and nylon acoustic
electrics  . I'm satisfied with the electric guitar processor , it's fat .

The vocal FX are great stuff for a singer/soloist they cover modern pop genres well .
They make me think of looking for acts/genres to promote that I don't particularly like/perform
but see the potential marketing value in these acts .

They are also  a dream come true for a stand alone collection of things to exploit in the commercial
market of advertisement , a niche many ignore , and a money maker for those who are quick to exploit  .

I look at things from a whole different mind set of solution solving deductive logic attack .
To some 8 tracks seem limited , Ray Charles - The Beatles did it with 4 .

................................................To be continued .....................................................EZ :

HR

8)

Antonuzzo

Quote from: Hurricane on March 27, 2017, 12:49:08 PM

They are also  a dream come true for a stand alone collection of things to exploit in the commercial
market of advertisement , a niche many ignore , and a money maker for those who are quick to exploit  .



Do tell - this is something that interests me too.

GuitarBuilder

Why use this instead of Reaper?  The latter is well-developed and performs great!

http://www.reaper.fm
"There's no-one left alive, it must be a draw"  Peter Gabriel 1973

Elantric

#6
Agreed

It takes time to learn any DAW , might as well learn a decent one that you may never outgrow (like Reaper)

Reaper  was developed by the same gentleman (Justin Frankel) who created Winamp pro. ( was very popular MP-3 player on Windows in the 90's, and ShoutCast. He sold Winamp pro for $59 million and retired at age 21 to Hawaii then friends challenged him to make a ProTools killer app and created Reaper ('Rapid Environment for Audio Prototyping and Efficient Recording")
https://en.wikipedia.org/wiki/Justin_Frankel


http://www.soundonsound.com/reviews/cockos-reaper-daw

QuoteInto this world of heavyweights comes Reaper ('Rapid Environment for Audio Prototyping and Efficient Recording'), from developers Cockos Incorporated. Founded in 2004 by engineers tired of working within large companies, they have lots of previous experience, between them developing many well-known products — Reaper development is spearheaded by Justin Frankel, who created both Winamp and the Gnutella peer-to-peer file sharing network.

tbeltrans

Quote from: Hurricane on March 27, 2017, 12:49:08 PM
:o

EZ peasy download , no issues with Windows 10 - Yeah I was amazed at this happening so easy as I mentioned .

Fired up the demo , I was impressed - 64 bit resolution big time  .

I'm using the new T.C. Helicon VL3X I've had for a week now as my source to input recorded loops/tracks .
I'm really impressed with the FX engine it sports for vocal and guitar .

The Bodyrez presets ( 5 ) get the quack out of piezos on my steel and nylon acoustic
electrics  . I'm satisfied with the electric guitar processor , it's fat .

The vocal FX are great stuff for a singer/soloist they cover modern pop genres well .
They make me think of looking for acts/genres to promote that I don't particularly like/perform
but see the potential marketing value in these acts .

They are also  a dream come true for a stand alone collection of things to exploit in the commercial
market of advertisement , a niche many ignore , and a money maker for those who are quick to exploit  .

I look at things from a whole different mind set of solution solving deductive logic attack .
To some 8 tracks seem limited , Ray Charles - The Beatles did it with 4 .

................................................To be continued .....................................................EZ :

HR

8)

Though I agree with your point, I question the Beatles' use of only 4 tracks.  I have read many posts that make this claim.  Yet, from everything I have read, it seems they had a lot of toys to play with, including more than one 4 track machine.  Apparently, their record company gave them latitude in the studio to play and come up with whatever they wanted musically, where many groups then and now had to adhere to stultifying rules so they sounded like whatever was selling well at the time they were recording.

Tony


admin

#8
QuoteThough I agree with your point, I question the Beatles' use of only 4 tracks.  I have read many posts that make this claim.

https://en.wikipedia.org/wiki/History_of_multitrack_recording
Much of the credit for the development of multitrack recording goes to guitarist, composer and technician Les Paul, who lent his name to Gibson's first solid-body electric guitar. His experiments with tapes and recorders in the early 1950s led him to order the first custom-built eight-track recorder from Ampex, and his pioneering recordings with his then wife, singer Mary Ford. But it was Patti Page who was the first vocalist to record her own voice, sound on sound, with a song called Confess, in 1947: Bill Putnam, an engineer for Mercury Records, was able to overdub Page's voice, due to his well-known use of technology. Thus, Page became the first pop artist to overdub her vocals on a song. This was months before Les Paul and Mary Ford had their first multi-voiced release. Paul was the first to make use of the technique of multitracking to record separate elements of a musical piece asynchronously — that is, separate elements could be recorded at different times. Paul's technique enabled him to listen to the tracks he had already taped and record new parts in time alongside them. In 1963, solo jazz pianist, Bill Evans, recorded Conversations with Myself, an innovative solo album using the unconventional (in jazz solo recordings) technique of overdubbing over himself, in effect creating a two-piano duet of jazz improvisations.

Multitrack recording was immediately taken up in a limited way by Ampex, who soon produced a commercial 3-track recorder. These proved extremely useful for popular music, since they enabled backing music to be recorded on two tracks (either to allow the overdubbing of separate parts, or to create a full stereo backing track) while the third track was reserved for the lead vocalist. Three-track recorders remained in widespread commercial use until the mid-1960s and many famous pop recordings — including many of Phil Spector's so-called "Wall of Sound" productions and early Motown hits — were taped on Ampex 3-track recorders.

The next important development was 4-track recording. The advent of this improved system gave recording engineers and musicians vastly greater flexibility for recording and overdubbing, and 4-track was the studio standard for most of the later 1960s. Engineer Tom Dowd was among the first to utilize 4-track recording for popular music production while working for Atlantic Records during the 1950s[citation needed]. Many of the most famous recordings by The Beatles and The Rolling Stones were recorded on 4-track, and the engineers at London's Abbey Road Studios became particularly adept at the technique called "reduction mixes" in the UK and "bouncing down" in the United States, in which multiple tracks were recorded onto one 4-track machine and then mixed together and transferred (bounced down) to one track of a second 4-track machine. In this way, it was possible to record literally dozens of separate tracks and combine them into finished recordings of great complexity.

By the mid-1960s, the ready availability of the most up-to-date multitrack recorders - which were by then standard equipment in the leading Los Angeles recording studios - enabled Brian Wilson of The Beach Boys to become one of the first pop producers to exploit the huge potential of multitrack recording. During the group's most innovative period of music-making, from 1964 to 1967, Wilson developed elaborate techniques for assembling the band's songs, which combined elements captured on both 4-track and 8-track recorders, as well as making extensive use of tape editing. By 1964, Wilson's increasingly complex arrangements had far outstripped the group's limited musical abilities - singer-guitarist Carl Wilson was the only group member who regularly contributed to these tracking sessions - so Wilson began routinely recording all the instrumental backing tracks for his songs using the team of top-rank professional studio musicians who came to be known as "The Wrecking Crew". For the group's landmark Pet Sounds album in 1965, Wilson recorded all the album's elaborate backing tracks using The Wrecking Crew and other session musicians, while the Beach Boys were away touring; the session musicians typically performed these instrumental tracks as ensemble performances, which were recorded and mixed live, direct to a 4-track recorder. When the other Beach Boys returned from touring, they moved to Capitol's own in-house studio, which was equipped with the latest 8-track technology; by this time, Wilson and his engineers had 'reduced' the pre-recorded 4-track backing tracks to a mono mix, which was then dubbed onto one track of the 8-track master tape; Wilson then recorded the vocal tracks, assigning one individual track to each of the six vocalists (including soon-to-be permanent member Bruce Johnston), leaving the eighth track available for final 'sweetening' elements, such as additional vocal or instrumental touches, and lastly, all these elements were mixed down to the mono master tape. Fortunately, nearly all of the Beach Boys' 4-track and 8-track masters from this period are preserved in Capitol's archive, allowing the label to release several expansive boxed sets of this music; The Pet Sounds Sessions (1997), includes nearly all the separate backing and vocal tracks from the album, as well as new stereo mixes of all the songs, while the 9-CD The Smile Sessions (2011) features a wide cross-section of the huge amount of instrumental and vocal material (totalling around 50 hours of recordings) that was recorded for the group's never-completed 1967 magnum opus, Smile.

All of the Beatles classic mid-1960s recordings, including the albums Revolver and Sgt Pepper's Lonely Hearts Club Band, were recorded in this way. There were limitations, however, because of the build-up of noise during the bouncing-down process, and the Abbey Road engineers are still justly famed for the ability to create dense multitrack recordings while keeping background noise to a minimum.

4-track tape also led to a related development, quadraphonic sound, in which each of the four tracks was used to simulate a complete 360-degree surround sound. A number of albums including Pink Floyd's The Dark Side of the Moon and Mike Oldfield's Tubular Bells were released both in stereo and quadrophonic format in the 1970s, but 'quad' failed to gain wide commercial acceptance. Although it is now sometimes considered a gimmick, it was the direct precursor of the surround sound technology that has become standard in many modern home theater systems.

In a professional audio setting today, such as a recording studio, audio engineers may use 64 tracks or more for their recordings, utilizing one or more tracks for each instrument played.

The combination of the ability to edit via tape splicing, and the ability to record multiple tracks, revolutionized studio recording. It became common studio recording practice to record on multiple tracks, and mix down afterward. The convenience of tape editing and multitrack recording led to the rapid adoption of magnetic tape as the primary technology for commercial musical recordings. Although 33⅓ rpm and 45 rpm vinyl records were the dominant consumer format, recordings were customarily made first on magnetic tape, then transferred to disc, with Bing Crosby leading the way in the adoption of this method in the United States.







chrish

Thanks for that article. Side note- the movie 'love and mercy' is based upon brian wilson's life.

when i saw pink floyd play 'dark side of the moon' the revolving sound blew me away.

i owned a tube Roberts reel to reel that did sound on sound. Wish i hadn't trashed it.

reaper is not a free daw.

i use audacity, while not really a daw, it's very easy to use and it's free.

Elantric

#10
Quotei use audacity, while not really a daw, it's very easy to use and it's free.
https://www.vguitarforums.com/smf/index.php?topic=20556.msg148008#msg148008

( ASIO Audio interfaces are what all Windows Audio interfaces utilize for lowest latency.
 
If you use Windows OS, if you MUST modify Audacity for use with ASIO Audio Interfaces from Boss, Roland

By default installation, Audacity does NOT provide support for ASIO

How to change that
http://wiki.audacityteam.org/wiki/ASIO_Audio_Interface
QuoteAudacity and ASIO

The ASIO technology was developed by German company Steinberg and is protected by a licensing agreement which prevents redistribution of its source code.
Audacity, as an open source program licensed under the GPL, is therefore currently unable to support ASIO, despite being ASIO-capable (providing the user's sound device is similarly capable). If ASIO support were distributed in Audacity builds this would either violate Steinberg's licence agreement if the code were included, or conversely would violate Audacity's GPL Licence if the code were withheld. There are persistent rumours of Steinberg opening up licensing, but without any apparent movement. Anyone who cares about this issue is invited to make their views known to Steinberg via their Contact page.


QuoteNon-distributable ASIO support in Audacity

Audacity provides ASIO support on Windows for individuals who are prepared to compile Audacity from source code using the optional Steinberg ASIO SDK.
ASIO support is provided strictly on the basis that it is NON-DISTRIBUTABLE, that is, you may NOT copy or distribute builds including ASIO support to anyone else. The build is strictly for your own personal (private or commercial) use. For the same reasons, Audacity can NOT distribute builds of Audacity including ASIO support, so please don't ask!
The following is an overview of compiling Audacity from source code including ASIO support.
Install the free Microsoft Visual Studio Community Edition Integrated Development Environment (IDE).
Download and install the ASIO SDK from Steinberg.
Download the source code of the latest Audacity release from https://github.com/audacity/audacity/releases. Follow the steps in win/compile.txt in the source code to:
Download and install the wxWidgets GUI toolkit then build wxWidgets using Visual Studio.
Set the WXWIN environment variable to the directory where you installed Widgets and set the ASIOSDK_DIR environment variable to the directory where you installed the ASIO SDK. Reboot the computer.
Build Audacity using Visual Studio.
Follow the instructions and download links on Developing On Windows for full details.
http://wiki.audacityteam.org/wiki/Developing_On_Windows

Hurricane

 8)

Quote from: GuitarBuilder on March 30, 2017, 07:58:51 AM
Why use this instead of Reaper?  The latter is well-developed and performs great!

http://www.reaper.fm

:P

OK -

For just one -

Gamers are buying - $'s  -back ground sounds for games they make from the games they buy , E.G.> [ Far Cry ]
That game provides a game making software to make your own maps and have people play on your game map .
Maps in Africa or a Caribbean Island .

I know a couple - she's an awesome vocalist and can play a keyboard and use a
copy paste DAW while he did/does foley for motion picture over dubs , https://en.wikipedia.org/wiki/Foley_(filmmaking)
and plays O.K. electric guitar .
 
Together they are custom creating back ground soundscape scenes of themes like I.E >

busy bar
restaurant 
ethnic exotic type lands
beach
mountain
city-scapes

, you name it .

They make a package of sounds to suit a Grand Theft Auto or 007
type scenario and/or what ever , for reasonable prices in mp3 downloads .

All online no packaging or brick and mortar . 

EZ :

HR

;)