Hey all, I'm looking to get back into making some music as a creative outlet, used to use FL 11 back when I was in Middle/High School (ripped version unfortunately) but now I want to actually buy a legit copy and am not if there's any real benefit to getting Producer edition? As far as i've seen online, Fruity doesn't include Edison, which I guess is fine I think I only used Edison back in the day to get rid of background noise from an old shitty mic lol. Really I'd be using Splice to get drum sounds/misc. and I already have a focusrite for recording guitar, keyboard and bass. I'm hoping Fruity would at least include some synths other virtual instruments and plugins like soundgoodizereverbs/delays/chorus and one of those Mastering plugins I can't remember the name of it. Would I be good with just Fruity?

[ANSWERED BELOW]
I'm a bit unsure about my current setup and whether it will work/how I'll know if it works.
I've downloaded Unchained & have it tied to my RD account, and I've also configured my Torrentio plug-in on Streamio to also have my RD API key set up. Is there anything else I have to do (i.e get plugins for Unchained?). I just wanted an app that can monitor my RD account since I'll probably only be torrenting from Streamio. Will my torrentio selections immediately download on RD so I can see them in Unchained? Any clarification is welcome.

It was on YouTube in 2014 for like Majestic channel. The video was literally like girls twerking underwater or some shit. The VST instrument sounded like stock Nexus sounds like chimes + a sharp trumpet. I’m going crazy because I can’t find the song.

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Details

Korn is a Granular Engine that delivers unique and inspiring results. It works as a sample-on-shot player as well as a looper and granular engine with beautiful cloud textures of up to 5 grains. Buy now for only €59 / $65 in our exclusive intro sale!

Hey there fellow musicians! Want to hook up your guitar amp to your computer but not sure how? Don't fret! Here's a fun guide to help you rock on 🎸
Reasons to Connect: You can record your amp's sound, jam using your computer speakers/headphones, edit digital amp settings, and more!
Method 1 - Using an Audio Interface: The classic method involving an amp with an auxiliary output or headphone jack.
Method 2 - Digital Amps and Software: For those tech-savvy folks, connect via USB for editing amp settings and downloading presets.
Method 3 - Guitar Amp Software: Explore VST plugins for authentic amp sounds directly on your laptop.
Method 4 - Mic Jack Connection: Budget-friendly way to make the connection, but comes with limitations.
Best Amp Simulator Software: Check out Guitar Rig 5 Pro, AmpliTube, and Line 6 POD Farm for fantastic virtual amp experiences.
With various options at your disposal, unleash your inner rockstar and get creative with your guitar setup! 🎶🎵
👉 https://www.allstringed.com/how-to-connect-guitar-amp-to-compute

I want to be able to use analog instruments or sample things to use as instruments rather than using digital synths, but I don’t have much money to spare and definitely not enough to go fully into the analog synth world. I find using analog instruments much more inspiring and productive because I don’t get overwhelmed by the options in a VST or something, and I end up trying to emulate artists that already exist rather than find my own sound.
What kind of stuff could I do?
Bands I like are Ministry, Lard, Author & Punisher, Pitchshifter, Filter, NIN, Melvins, Helmet, Daughters

I upgraded from my 2016 15" MacBook Pro to a 2023 16" with an M3 Pro, and I've been frankly disappointed by the number of hang-ups with it. I am getting back into audio engineering/production after a few years of being away, and I spend far more time chasing solutions to computer problems than I do actually using the creative tools that should be at my disposal.
First, the stats:

• 16-inch, November 2023
• 18GB unified memory
• 512GB SSD
• Currently on Sonoma 14.1.
  • I know there are upgrades available but they are known to have problems with software I rely on, especially from Avid, Native Instruments, Waves, and Pace/iLok

A quick summary of the issues I've had:

• Video resolution/refresh. Even using *only* the dedicated/built-in HDMI output to a 4k60Hz monitor, I cannot get any external monitors to go beyond 30Hz refresh (even when downscaling to 1080p). I have read from other users with this issue and they note that it appears to be a software limitation, as running Windows via Bootcamp allows for 60Hz no-problem
• Laggy response from keyboard/mouse - USB wired, USB wireless, and even Apple's Magic Keyboard and Magic Mouse will often become extremely slow to respond, and mouse cursor position is jumpy/slow to refresh
• Frequent software crashes, especially Logic Pro X
  • I use Logic Pro X with a moderate number of 3rd party plugins. Many of the crashing issues early-on were due to me having older versions of plugins that did not function well with Apple Silicon. Though plugin-related crashes have lessened over time as I have upgraded problematic ones, there are still times when opening a relatively empty project will give Logic the rainbow-wheel, and I will need to restart the computer in order to stop it from happening.
• Permissions pains
  • When installing/running software, I will often need to go into security settings and enable extensions from (insert software developer here) *multiple times* in order for the software to work correctly.
• Overall slow performance
  • Under relatively light workloads (plugin-lite Logic session or a single Native Instruments app), and with activity monitor not showing any clear signs of particular apps over-using resources, my computer will suddenly slow down, with all apps/processes hanging for 5-10 seconds, and then start working again, only for it to repeat a few minutes later.

Sorry for the rambling post. I had been trying to tackle these issues one-by-one but that has turned into a game of whack-a-mole as of late, and it's slowing down my ability to work. Are there any issues with this range of MBP's that have been unnecessarily hurting performance? Are there any settings/permissions that I can/should change to avoid the problems I've been having? Seriously considering trading this thing in for a Mac Mini or Mac Studio, as I am mostly using it in a single location (portability is less-and-less important over time).

Hi, so basically the title. I just started using ableton two months ago and all the videos I’ve come across sound very lofi (been using stock plugin), I want plugins and instruments that sound more rnb and video that I can watch that will help me make more alternative rnb stuff.
So beats similar to SZA, Tems, Rema, Sarz, Rihanna’s Anti, Kali Uchis, Daniel Caesar, Omar Apollo, Jorja Smith, Jordan Ward, and alike I don’t have a midi controller yet or play any instruments, basically all I do is on ableton’s clips and midi.
Oh and video on drum patterns too.

Dawless jam with a plugin, Sylenth 2024. - YouTube
Well I was programming some sounds in standalone mode on sylenth1 (using hosting au) and the notes of the chord I was playing stuck, a total accident. So I thought I would record it as it sounded pretty sick and do a 10 minute performance using only sylenth and a delay.
Quite fun doing stuff fully live and I can always chop it up later down the line, but consider this a performance in itself. Pretty much what I used do with my analog synths years ago when computers were not used so much.
Sylenth has been around a long time but it is awesome as ever. You won't find anything that uses less CPU (well I havn't) which lets you go crazy. I have had at least 80 sylenth running at the same time - some racks with 4 sylenths per sound/ instrument, and this on a 7 year old mac. I got Roland cloud the other day and 2 sounds took 50% of the cpu on a borrowed M3 mac, completely useless to me.
I have been trying VItal, which is OK but a bit boring, also roland cloud, which is just annoying, you cant trust it to keep working and it hogs cpu. I also tried spire which is great sounds out of the box, probably the best I have heard, but I only really interested in making my own sounds.
Sylenth is very fast to work with when you know it and can get super complex. If you have a Daw with LFOs for midi control /eg cc) you can get 2 channels of pwm sounds and you can also make 2 part sounds combined easily.
So here is to sylenth! Still going strong. Someone put a lot of work into programming it to be efficient, great work because no one else seems to care about this any more. People dont even care about latency becuase they mostly are not playing anything in I expect, and who needs to with AI! lol

I've decided on the 61 key korg microkey.. not sure yet about "air" vs wired. My question is: which ipad.
this is just for portable practice for my nephew. He has a real piano, so no need to tell me this doesn't replicate that (in case you were gonna : ) ) .. so I need to decide on which ipad to buy.
I'd like it to be, at the newest, something with lightning port and separate headphone jack. I have the right dongle to get the korg midi usb out into the ipad already.
So, lets say I get him a ** 7th gen regular ipad ** (the oldest one that will run the newest iOS, 17) .. that's an A10 fusion chip.. will there be latency when he plays the korg microkey with midi out? will it be able to work with the microkey air wirelessly?
separately.. this thing is probs going to be un-updatable soon.. how do we get garageband recordings off of it besides icloud? can i like..share an mp3 track with whatsapp or telegram or some such? or am i stuck in icloud/airdrop to another apple device only land..
lastly, any other virtual instruments/vst pianos you recommend i should buy? maybe less resource intensive than using garageband ones for live practice?
thanks so so much !

Using Udio to generate stems and vocal sections, mixing with VST instruments and samples in Ableton + some plugins to bring the levels up to standards.
https://on.soundcloud.com/WLPhfynjZ6jJrmLG9

In the annals of gaming history, few titles command the reverence and adoration as the legendary Doom franchise. Born from the minds of John Romero, John Carmack, Adrian Carmack, and Tom Hall, Doom would go on to lay the foundations for just about every modern video game that exists. It was a true tour de force, a success story few could scarce ever imagine.
Released in 1993, Doom was an immediate smash hit, thanks in no small part to its shareware format, which allowed users to experience the first few levels of Knee Deep In the Dead, and then order the full game via the phone number included. Players could then share the floppy disk with their friends, and so on, and so on. It was a truly revolutionary system, and within a single year, Doom had sold over 2 million copies.
The history of the Doom franchise is one of innovation, ultra violence, and controversy (1999's Columbine High School Massacre), and that reputation is one that continued with 2016's DOOM. DOOM was officially revealed at Quakecon 2014, ten years after Doom 3. Players had long resigned to Doom being considered a dead franchise. A reboot had been in the works for a number of years prior, but never got released, having been quietly cancelled by id in 2010. The future was bleak, but the 30 second long teaser ignited a spark that had been burning dimmer every passing year.
Then came E3 2015.
The hype was unreal. The trailer had everything that fans could possibly want. Gore, intense violence, insane run n gun gameplay, a rip-roaring soundtrack and the MFING CHAINSAW. But fans had been let down before. Would it really hold up its promises?
Yes. Yes, it would.
PART I: Presentation
When DOOM burst onto the scene in 2016, it did so with a visual and auditory spectacle that left players awestruck. From the moment the game boots up, players are made aware that this is not your average shooter. You are greeted with a deep, commanding voice. "Rip and tear, until it is DONE."
Immediately, players are greeted with a scene of carnage and the Doom Slayer chained to a table, which, of course, he instantly breaks free from. A zombie attempts to relieve the Slayer of his life but is beaten to the punch with a prompt skull smashing. After putting the other zombies to rest, he interacts with the panel in the corner, is greeted by one Dr. Samuel Hayden, who attempts to justify the outbreak, and decides he would rather kill shit than listen to excuses and destroys the monitor.
That is the introduction to this game. It never wastes the player's time. We aren't here to listen to long droning monologues or watch MGS style cutscenes. id Software knew their audience, and knew what that audience wanted, and they deliver in spades. This introduction sets the tone for the entire experience: relentless action, unapologetic violence, and a protagonist who is as unstoppable as he is uncompromising. The Doom Slayer's disdain for exposition and his single-minded focus on annihilating demons resonate with players who crave a pure, unadulterated gaming experience.
By eschewing lengthy cutscenes and exposition-heavy dialogue in favor of fast-paced gameplay and visceral action, id Software delivers a game that respects the player's time and delivers exactly what they came for: non-stop demon-slaying action. In an era where many games are criticized for padding their runtime with unnecessary filler, DOOM stands out as a shining example of how to create a focused and engaging experience that keeps players coming back for more.
Rather than bombarding players with lengthy exposition or intrusive cutscenes, DOOM opts for a more environmental storytelling approach. Throughout the game, players can discover audio logs, read text-based terminals, and observe environmental details that provide context and background to the events unfolding around them.
The story of DOOM revolves around the Doom Slayer's mission to stop a demonic invasion unleashed by the Union Aerospace Corporation (UAC) on their Martian facility. As players progress through the game, they uncover details about the UAC's experiments with Hell energy, the origins of the demonic invasion, and the Doom Slayer's own mysterious past.
While the story may not be front and center in DOOM, it nonetheless adds depth and richness to the game world, enhancing the overall experience for players who choose to engage with it. And for those who prefer to focus solely on the action, the story remains secondary, allowing them to enjoy the game on their own terms.
That's all well and good, but what about the actual gameplay? Simply put, it is exhilarating. From the moment you are given control of the Slayer, players are thrust into a frenzy of blood and violence, and it never lets up. At its core, DOOM is a first-person shooter that harkens back to the genre's roots while injecting it with a healthy dose of modern flair. The gameplay is fast-paced, frenetic, and utterly unapologetic in its brutality. You're not just a player – you're the Doom Slayer, a force of nature hell-bent on eradicating every last demon in your path.
Central to the gameplay experience is the game's combat loop, which revolves around a delicate balance of aggression and strategy. In DOOM, there's no hiding behind cover or waiting for your health to regenerate – you're constantly on the move, strafing, dodging, and leaping across the battlefield as you unleash a torrent of bullets, rockets, and plasma upon your enemies.
Weapons include the iconic shotgun, heavy assault rifle, plasma rifle, rocket launcher, and the devastating BFG 9000, among others. Each weapon offers different firing modes, such as single shot, burst fire, and continuous beam, providing players with tactical options in combat. A key aspect of combat is the Glory Kill system, which allows players to perform brutal finishing moves on staggered enemies. Glory Kills not only provide health and ammo but also contribute to the flow of combat by encouraging aggressive play. It is incredibly satisfying to watch the Slayer rip an imp in half or stomp their head into the pavement, and doing so rewards you with a large return of health.
The Chainsaw mechanic is another integral part of combat, allowing players to instantly kill most enemies and gain a large amount of ammo in return. However, Chainsaw fuel is limited and must be managed carefully. Like Glory Kills, watching the chainsaw tear demons apart is incredibly satisfying. Certain demons require more fuel but provide the player with more ammo in return. Balancing which demons you chainsaw and which ones you choose to Glory Kill is an important part of combat.
Exploration is key to progression and is rewarding to those players who choose to do. Hidden throughout the levels of the game are Argent Cells, Praetor Tokens, and Rune Trials. Each of these provide upgrades to your health/shield/ammo, suit, and passive abilities respectively. Also hidden throughout the game are levers that lead you to classic levels from Doom 1 and Doom 2, which then unlock the full level of its respective game, playable from the main menu. You can also find toy models of the Doom Slayer, which unlock various character models to view. On some of these models, the Doom Slayer will perform a unique action when picking it up, such as fist bumping the classic Doomguy. It's a nice and cute little touch added by the developers that does a little to add character to the Slayer, who is a silent protagonist.
id Software masterfully blends modern game design with a deep reverence for the classics, paying homage to the series' storied history while introducing new elements that propel the franchise forward. Central to this approach is the game's character design, which strikes a delicate balance between nostalgia and innovation. At its core is the iconic protagonist, the Doom Slayer, whose design pays homage to the original Doom Marine while incorporating modern updates that make him feel both familiar and fresh. With his battle-worn armor, imposing stature, and silent demeanor, the Doom Slayer is the embodiment of raw power and unrelenting rage.
The game's roster of enemies is a veritable who's who of classic Doom foes, reimagined for the modern era. From the lowly possessed soldiers to the hulking Cyberdemon, each enemy is lovingly crafted to capture the essence of its 1990s counterpart while introducing new mechanics and behaviors that keep players on their toes. Whether you're facing off against the agile Revenants, the relentless Hell Knights, or the grotesque Cacodemons, every encounter is a nostalgic trip down memory lane, punctuated by the satisfying sound of demon flesh being torn asunder.
But the main story is not where it ends. DOOM has an arcade mode, where players can run through the levels again, this time trying for high scores and medals while collecting 1 Ups. It's important to move fast and have accurate aim; the more kills you chain together, the bigger your score is. Getting hit reduces your score. At the end of the level, your score is tallied against others on a leaderboard. It's a great way to incentivize players to keep playing, in order to get a better and better score.
There is also multiplayer, where players compete in various game modes such as classic deathmatch, warpath and free for all. Players can become demons by collecting runes on the battlefield and this gives them a distinct advantage; demons are larger, stronger and more resilient. Players are bizarrely restricted to only two weapons and a loadout in multiplayer, which blew my mind. Loadouts. In a DOOM game. The demons are also massively unbalanced and if one team manages to get a particularly powerful demon such as a baron of hell, then it's a guaranteed win. All in all, the multiplayer just isn't great. You are better off replaying the story or arcade mode, or even SnapMap.
SnapMap is id Software's proprietary level editor, and it puts every other editor on the market to shame. SnapMap is an incredible, intuitive, easy to learn system allowing players to create their own multiplayer, co-op and single player maps. There is an extensive tutorial system that teaches users the basics, and goes up in depth, covering how to use AI triggers, switches, combinations, object layering, actions, recalls, audio cues, etc. Never have I ever seen such an in-depth interface on a console game before. While it is only surface level in the grand scheme of things, SnapMap is a great introduction to teaching users how game development works, and I urge everyone to try it out at least once.
Part II: The Music
In DOOM, the music isn't just a background accompaniment – it's a driving force that propels players forward, electrifying every moment of the gameplay experience. Composed by the incredibly talented Mick Gordon, the soundtrack of DOOM is a relentless onslaught of metal and electronica that perfectly complements the game's fast-paced action and visceral combat. From the moment you boot up the game, you're greeted by the iconic strains of the main theme, a haunting melody that sets the tone for the epic journey that lies ahead. As you traverse the game's environments, the music shifts seamlessly between atmospheric ambience and pulse-pounding metal.
But it's not just the composition of the music that makes it so memorable – it's also the way it's integrated into the gameplay itself. Mick Gordon's dynamic scoring system ensures that the music evolves in real-time based on the player's actions, ramping up in intensity during combat encounters and dialing back during quieter moments of exploration. This creates a sense of momentum and flow that enhances the overall pacing of the game
One of the standout features of the soundtrack is its use of unconventional instrumentation and sound design. Mick Gordon's signature sound combines distorted guitars, pounding drums, and industrial noise to create a sonic palette that is as brutal and unforgiving as the game itself. From the deep, guttural growls of the synth bass to the ear-shredding shrieks of the guitar solos, every element of the music is designed to evoke a sense of chaos and destruction, mirroring the relentless carnage unfolding onscreen.
Of course, no discussion of the music in DOOM would be complete without mentioning the iconic tracks that have become synonymous with the game. From the adrenaline-fueled "Rip & Tear" to the bone-crushing "BFG Division," each track is a masterpiece of composition and production, perfectly capturing the essence of the DOOM experience and elevating it to new heights. Mick Gordon's composition for the DOOM soundtrack is a tour de force in heavy metal and industrial electronica, meticulously crafted to evoke the essence of the game's frenetic gameplay.
The backbone of the soundtrack is the distorted guitar, which provides the driving force behind many of the tracks. Gordon's use of extended-range guitars and custom-tuned instruments gives the music its signature low-end punch, while his aggressive playing style adds a raw, visceral energy to the sound. In addition to guitars, Gordon incorporates a wide range of electronic and synthetic elements into his compositions, including synthesizers, drum machines, and sampled sounds. These elements are used to create atmospheric textures, rhythmic patterns, and dynamic effects.
One of the most innovative aspects of Gordon's sound design is his use of audio manipulation techniques, such as granular synthesis and spectral processing. These techniques allow him to deconstruct and manipulate audio in real-time, creating complex textures and effects.
Perhaps the most revolutionary aspect of Mick Gordon's composition for DOOM is his dynamic scoring system, which adjusts the music in real-time based on the player's actions. This system, known as "MIDI-controlled dynamic music," allows the music to seamlessly transition between different layers and variations depending on the intensity of the gameplay. Gordon achieves this dynamic effect by dividing each track into multiple stems or layers, each representing a different element of the music (e.g., drums, guitars, synths). These stems are then triggered and mixed in real-time using MIDI data generated by the game engine, allowing the music to adapt and evolve dynamically as the player progresses through the game.
Part III: Building a Legacy
All too often in this industry, legacy franchises are either left in the dust to be forgotten, or brought back to a limp fanfare, only to be thrust back into the shadows of the past. This happens for a myriad of reasons, and I believe the biggest one is that they don't respect their legacy, and they don't respect the players who engage with them.
At its core, DOOM is a game that understands what players want: fast-paced action, engaging gameplay, and a sense of empowerment. By focusing on these core principles, id Software created an experience that resonated with players old and new, capturing the spirit of the original games while pushing the series forward. Central to this approach is the game's unwavering commitment to respecting the player. From its minimalist storytelling and streamlined level design to its intuitive controls and dynamic difficulty system, DOOM prioritizes the player's experience above all else, ensuring that every moment of the game is engaging, immersive, and satisfying.
One of the most notable ways that DOOM respects the player is through its approach to difficulty. Rather than imposing artificial barriers or punishing players for their mistakes, the game encourages experimentation and mastery through its responsive gameplay mechanics and adaptive enemy AI. Players are given the freedom to approach encounters in their own way, whether it's through brute force, cunning strategy, or a combination of both.
Another key aspect of DOOM's player-centric design is its emphasis on accessibility. From its difficulty settings and intuitive user interface to its robust accessibility features, such as colorblind modes and customizable controls, the game ensures that players of all skill levels and abilities can enjoy the experience without feeling excluded or overwhelmed.
But perhaps the most important way that DOOM respects the player is through its commitment to fun. At its core, DOOM is a game that prioritizes the player's enjoyment above all else, delivering a seamless and exhilarating experience that keeps players coming back for more. Whether you're blasting demons with a shotgun, exploring hidden secrets, or rocking out to Mick Gordon's pulse-pounding soundtrack, DOOM is a game that never stops prioritizing YOU.
DOOM's legacy is one of respect – respect for the player, respect for the franchise, and respect for the medium of video games as a whole. By prioritizing fun, accessibility, and player agency, id Software created an experience that not only honors the legacy of the original games but also sets a new standard for what a modern first-person shooter can be. And for that, we owe them a debt of gratitude.

I have a question that might seem trivial, but it's been on my mind. Like many of you, I use multiple audio software programs—Cubase, Pro Tools, FabFilter, iZotope, Waves, Native Instruments, Soundtoys, UAD, Plugin Alliance, Altiverb, MeldaProduction, Sonarworks, and countless others. Each of these comes with its own licensing system, whether it's through an iLok USB key or cloud-based activation. For instance, I have an iLok usb key (or cloud) for some of them, but Izotope has its own license activation system, same for Cubase, Waves, NI, Meldaproduction, Sonarworks and so on.
Working across different studios, I find it frustrating to manage these licenses. Each software has its own activation process, which means I have to transfer licenses every time I switch locations. Given that we're dealing with a multitude of audio plugins, I've often wondered: Has there ever been consideration for a universal licensing system to streamline this process?

Screenshots inside! Studio Grand 1.5GB, Concert Grand 0.6GB, Vintage Upright 1.1GB. Old pianos moved to "Legacy" folder.
https://preview.redd.it/b1pomx4rc90d1.png?width=1566&format=png&auto=webp&s=522ffb9efb4a4d0cfcb72ba617310e6a060aadc7
In total it is 12.5 GB plus app upgrade. Looks like all current pianos are now in "Legacy" folder.
https://preview.redd.it/hsuxcdlxe90d1.png?width=850&format=png&auto=webp&s=01ef5a27da018f72c21520c6a252f2af983f7f68
When it comes to sizing of the three pianos, here is the breakdown:
596M ./Concert Grand Piano 1,1G ./Vintage Upright Piano 1,5G ./Studio Grand Piano
Sound
They definitely sound better than legacy stock pianos, specifically on sustain pedal I found Yamaha Legacy with too much overtone. These new pianos are much cleaner yet they provide good amount of overtones on sustain pedal, dynamics is great it is far away from infinite dynamic of PianoTeq but it does the job and it is really fun to play. My favourite one is the clean and simple "Studio Grand" patch which brings "Studio Grand Mono" with just a bit of EQ and reverb, little bit of pedal squeak, hammer noise and resonance but not too much.
With "AI" everywhere, I was hoping we get some physical modeling around sympathetic resonance, unfortunately, it is very subtle and likely just sample based. Also, sustain pedal seems to be binary, no half pedaling possible. But still, great sound, these are not meant to beat solo piano instruments, these are universal and compact all-round pianos for everyone.
Nice update indeed, bass plugin is also massive. Will try it tomorrow.

So, first of all you need to download session instruments to be able to use the new session AI instruments (12gb - download)
will be uploading first looks for the new plugins too below
https://preview.redd.it/ke8xj2wda90d1.png?width=1132&format=png&auto=webp&s=c2d42550b3090c191e67b3d2dbb458d14225a59c

i’m not that much of a garageband user i mostly use it for samples or their instrument plugins

Hello Reddit,
I have found a lot of fun in producing 80s inspired retrowave music, and recently I have stumbled over saxophone synthwave. I would like to incorporate some saxophone sounds in my music, so I am looking for some VST plugins. So far I have checked out Vir2 Mojo, JABB2, Vintage Big Band, MOJO2 and some free VST. While I found a lot of them quite good (except for the free ones to no surprise), they seem to be more jazz-oriented and sound rather soft and laid-back. I am looking for a more punchy, energized 80s soundtrack sound, maybe with a little bit of growling and some dirtyness. More like Clarence Clemons saxophone sound. I have about 200 Euros to spend on this.
Max Cruises sound is also very similar to what I would like to incorporate, but he uses a real saxophone, which leads me to the next point: I have recorded saxophones 10 years ago for some bands. I totally understand that it is not possible to copy all nuances and dynamics of a real saxophone into a VST plugin meaning it isn't possible to fully replace a physical sax with an emulated one, and if there is no plugin capable of a sound similar to what I imagine, so be it. But maybe there is someone here who has found something suitable.

I have set up various workstations with Mixcraft as I have been using it since V6, 7, 8, then 10. Using Focusrite Scarlet 2nd gen ASIO. Never had issues with midi or audio.
Just bought and installed version 10 on an old desktop I had laying around and, for the life of me, I can't get virtual instruments to play.
I can arm recording and the "Piano Roll" records my MIDI In playing from my controller ....i can see the midi notes "recorded" on the grid! But it won't play either during recording or playback. No MIDI out to the VST instruments essentially.
I've poked several areas of the software and the forums but I am stuck!
Any ideas??

Resonance Sound is offering a fantastic deal with a 71% discount on Tech X Bass House Mayhem Vol. 1 for Serum! Dive into top-notch bass house presets that will elevate your music production game. Hurry, grab this deal at Plugin Boutique here and unleash the power of Serum.

I've owned this VST for a long time, but I could never figure out how to use more than one of its 16 instrument "parts" at a time. Whenever I wanted to use more sounds from this VST, I basically would add a whole new instance of it, which admittedly was kind of costly to CPU.
I don't know if its just an LMMS thing or not, but can anyone teach me how I can use each part of the Sound Canvas VA, like adding each part as its own track? I just can't seem to figure out how to do it!