It just so happened after installing Vocaloid 5.0 my hard drive crashed and Vocaloid 5.4 was announced. And, after the Time Machine restore it would not update on my Mac from the DMG According to the Vocaloid Website, if you use Apple Time Machine and Vocaloid, it is beyond the scope of their Support.
I found that by reinstalling the original 5 over the previous install, I was able to reinstate the path well enough that the 5.4 Upgrade did install from the DMG. Hope this helps others in a similar situation.
Hi. For those of you who don’t know, Vocaloid is a music “voice synth” program that can be used to sing vocal to a song. While it is not perfect, it is making in roads and had a valid place in today’s music.
I have purchased the program and am looking for a user support community and cannot seem to find one. I am interested in creating one if that’s what it takes.
This is big in Japan and just becoming something here in the US.
Here’s a work using the program:
Here is a link. To it being used with the most famous singing anime, Hatsune Miku:
If you’re using this, you already know and I would appreciate you letting me know so we might be able to build a support community. Thank you
Compression is talked about a lot in mixing music. With DAWs bringing in a lot more entrepreneurial music production there is a significant point that is often overlooked.
Compression is, in a sense increasing RMS. What this means is a flattening of the sounds so the overall volume can be raised.
When you are creating music in a DAW, using pre sampled audio, these before they have gotten onto your track have most likely been treated/compressed/equalized. This is not to say you cannot get different effects for doing more of the same, but is a word of recognition when you are mixing and wonder why that compression effect is not having the effect you think it should is to consider the true value of that tool is for live recordings and even live performances. Go light on compression in audio sample situations.
I have the SSD4 package and have attempted to use it a number of times in Presonus Studio One. My problems with the package are
1. The interface is unnecessarily cumbersome.
2. While it gives good control it is a memory hog.
Frankly the Impact Tool built into Studio One is a flatter and more intuitive interface that also sends out to multiple tracks. Slate drums will stutter at times in playback or even have degraded sound in stressed memory situations. I have never had Impact do this.
My suggestion to Slate might be to sell the drum packages without the interface. I understand this bypasses the iLok system that maintains Slater’s proprietary code, but as many others state, that limits their market. I think many of us a looking for superior drum samples, but want to program our own drums in a space other than the Slate Interface. The Slate interface feels a bit like Kai’s Power Tools felt to built-in Photoshop tools. Creative look overwhelming the functionality.
I am not even positive that some sort of propriety methodology would be precluded by being able to get the importable files. Look what loopmasters.com has done with “loopcloud”. I am sure solutions for a win-win could be created.
I know I am just one person and my information, though I have researched, may be incomplete. Part of the reason I am putting it out there. Like the samples, not so happy with the execution, as compared to stock Presonus Studio One Impact. Please comment if you agree or disagree or have any suggestions.
It’s not that I don’t like Slate and what they are doing. They have good and even great products. FG-X comes to mind and I own that as well and will write my review coming up.
I had a colleague in about 2015, whom I had told that based on the music he was creating in Audacity that he should look into a DAW. He didn’t even know what it meant. Well, the guy is a very fastidious perfectionist and did his research. When he was satisfied he told me he had chosen Presonus Studio One. At this time I had not heard of the program and was just out of Garage Band and learning Apple’s Pro Logic. Since we wanted to collaborate, I agreed to move to Presonus as well, this was right after version 3 came out.
Prime (free version) of Studio One was my first download, after my collogue bought Pro. This free version to familiarize myself with the interface. Very soon after I bought the Presonus Audiobox 96 the basic model that was bundled with Studio One Artist. This got me on the road and it wasn’t long after that I got Pro. I wanted the mastering module… of course, The best way to export out of Studio One and with instant publishing to SoundCloud built in.
The real reason to get Pro is the mastering module. Presonus Studio One Pro, in case you don’t know, is a creation/mixing/mastering suite all in one app. The stock instruments and filters are enough to produce professional quality audio files. Serious stuff. The Pro industry has noticed and Presonus Studio One is making inroads in the Pro field.
I personally like Studio One because it helps me make good music by offering deep tools including a sampler, notation and a basic Melodyne plug in license out of the box and including incredible non destructive ways to stretch files in both timing and sound and while not getting in my way of creativity. It has a relatively flat interface which allows you to see most of what is going on. This description barely scratches the surface. Give it a try, if you haven’t.
I recommend Presonus Studio One for these reasons and more. Check out YouTube for many videos on Studio One to see just how great it is. For the record, I haven’t looked back. I am not a known name in the industry, but I know I am working with the best. If you don’t already know: https://bit.ly/2AigSxB and if you do… link add your comments to help share the story.
Audio, Print, Brand, Consulting locally for Monterey Bay. With some services worldwide.