Another newbie here. I had free version of Cubase LE years ago which I liked and I know Audacity pretty well. I just bought a Tascam USB cassette deck to digitize a lot of old tapes and modify them with effects plus I'd like to do some midi composing. A salesman at Sweetwater recommended Elements 13 for the Tascam but figuring out how the app works has been quite frustrating and I don't look forward to reviewing countless youtubes to figure out exactly what I want to do so I'm hoping I can get some specific help here.
Linking the Tascam up was pretty miserable. After several fruitless hours with the Cubase manual at hand, I eventually phoned Sweetwater tech support and a very helpful gentleman there spent an hour plus with me including remotely taking over my computer to see if he could get them working together, all to no avail. Finally I tried Audacity and that linked immediately to the Tascam so I'm happily recording my tapes with that.
What I want to do now with Cubase is compose with midi, mainly using the score editor, and delve into the potentially awesome array of Cubase sounds available. I started by downloading just Mystic Spaces but couldn't get it to show up anywhere in Elements, even after copying it to the VST Sounds folder. I then downloaded Halion Sonic 7 and it showed up with no problem and I got it into a midi track but the score editor remained grayed out. I loaded an old midi file of mine and got it into a track with the Halion and then the score editor was available but I want it there without having to load an old midi file first.
I tried to play my old midi file with the Halion and I get no sound. I checked my Windows 10 sound settings and they seem correct so why am I not hearing anything? Also can't figure out how to access all the Halion options through its own window and there's nothing about that in the Cubase manual. For output I also have an old Roland JV-1010 sound module but I haven't connected it yet and want to try the sounds Cubase has to offer first, presumably through my computer sound system.
So basically I'm asking how do I set up a new midi track with sounds and the score editor, and access all the Halion and Mystic Spaces sound options as well as any I might additionally download. I imagine this is simple if you know how but after several more hours opening windows and clicking options, I'm just not getting any further.

I've been a musician for many years playing in various unknown local bands and I'm looking to compose and record and produce music for your project. This is my first foray into on-demand music composition for others, so I figure I'd start with one tune for free, and if people are happy with my work, other opportunities can be discussed then.
I primarily play bass and keyboards, but have plenty of experience working with DAW software such as Cubase. I'm also experienced with guitar, and I'm capable of producing my own beats (aka drums).
So whether you want band-style music or orchestral-style music, I can provide.
I'm open to basically writing/recording any genre of music for video game soundtrack. Let's discuss your game's needs and work from there.
Here is a link of lame semi-recent music of mine: https://soundcloud.com/fractalbase
Here is a link of lame much older tracker-based compositions: https://fractalbase.bandcamp.com/album/sketchbook
I'm beginning a new era to my musicality, and I hope to provide with music close to what you'd expect for your video game.
thank you for reading. I look forward to working fowith you.

Back maybe 15 years ago, I made a bunch of projects with cubase le that I got with an audio interface. That was many computers ago and I lose the cd for cubase le. Are there any other free DAWs that will open a CPR file?

I have some friends who I played in a group with over 15 years ago and we are going to redo some of the songs we wrote. I am recording all the guitar parts using Logic Pro. The drummer is buying my windows laptop. He recently bought an electronic drum kit and is going to connect it to the laptop to record the drums but he isn’t very computer savvy. I can’t recommend Logic Pro so I’ve been searching for a free alternative for Windows. I found Cubase by BandLab and think that might work. Does anyone have any suggestions of DAWs or even just recording software that is free and would work? It doesn’t have to be fancy. We will be hitting the studio after we get everything nailed down. Any help is appreciated!
Edit: Thanks for all the solid suggestions. Some of you mentioned that I should keep him on the same platform as me which I think is a good idea. Instead of buying my laptop I’m gonna try to convince him to get a used iPad and then use GarageBand. They make a dongle I think that will convert USB to lightning or USB-C if he finds a good deal on an iPad Pro.

With windows 10, a yamaha keyboard connected to the PC with ASIO (midi and audio); how can I see my midi output with a virtual keyboard (something visual) ?
I am looking for something free or open source, or cubase pro based

With windows 10, a yamaha keyboard connected to the PC with ASIO (midi and audio); how can I see my midi output with a virtual keyboard (something visual) ?
I would like a black and white keyboard, resizable, which shows which keys of the yamaha keyboard are being played, with a change of color which persists when I keep the keys down.
I am looking for something free or open source, or cubase pro based.

With windows 10, a yamaha keyboard connected to the PC with ASIO (midi and audio); how can I see my midi output with a virtual keyboard (something visual) ?
I am looking for something free or open source, or cubase pro based

I just bought a reaper license!
I'm been trying reaper and other DAWs for months. honestly, they have ALL been giving me moments of banging my head against a wall. With reaper, it was the basics of making my midi controller follow the selected track (why not the default). If you don't know what record arming is called then automatically record arming a track isn't particularly intuitive.
Having seen mockups other people have done I figured I needed to settle on one and learn it thoroughly.
$72 inc VAT for a possible 6 year license (until version 9) is a very low price. I'd just started a free trial of cubase and the head banging moment was too much, especially when I see its £200 for the artist edition and £130 for a single version update.
​
Time to stop looking and start writing - I've put some money down!

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Making a topic on here, as let's be honest, it's Reddit and people are here for the drama, there are more lurkers on here than on the M3lin@ J subreddit...
There have been discussions in our fandom about making music on Linux (distros). There have been discussions about how HIDDEN AND NON-DISCLOSED dll and drivers on Windows automatically "enhance" and correct the voice and pitch while you're singing/recording. The outcome is that the singer SEEMS to be able to sing higher notes that she/he can actually sing. 🤷
On Linux, it's "plug and play", so no fancy software and drivers, what you hear is what you actually sing. The voice is recorded as is (raw recording). Melina's songs were all made using Linux, so no voice correction or anything. Most of the time, it's perf. Other singers (at least a few French singers) seem to not use voice correction either, but I think they use studio grade recording hardware ???
Mélina did some demos before, and the voice at least was recorded on W7, turning all the fancy effects off (it becomes difficult to work with a voice if you add effects while recording, apparently even muting the breathing might be hard to do without making it sound off). But, despite all the settings set to "off", there was still voice correction that allowed her to sing higher than she actually can. (And then the demo's pitch was set to higher during mixing, like it's humanly impossible to sing that final song as is. 🤷 )
Melina decided to record the final actual song on Linux, and the result is not bad, but we can tell it's not possible to sing as is. (Allegedly that's when she realized she got bamboozled and there was voice/pitch correction when using W7. Don't be mean to Melina, her other songs that she recorded without ANY voice correction are perf, it's just that the pitch of Lovely Holiday, even if lower than Lovely Summer (the original demo of the same song, that she composed and wrote, from 2015 or earlier) is too high for her voice, each of their own.
​
Anyway, it led to discussions and everybody falling into a rabbit hole about all the music making software. Long story short, Melina decided to record her own (real/wooden) instruments that she owns and make music like that WITHOUT USING VSTs. Some are saying VST3 work on Linux, but most say you need to use Wine (which is a big no for lots of people). The VSTs available on the main VST maker (the company which owns the patent) are advertised as working on Windows and IOS, not on Linux, though ??? (Also, I love how they just introduce their VST instruments by explaining the patent, basically, and after a few minutes you can listen to the actual instrument (their AI drum thingy) 😹 )
The issue is not VSTs apparently, Melina is happy with the way she makes music. The issue is that electronic instruments (to make techno/EDM) are only sold as VSTs (and of course you're not allowed to extract the sound), nobody is selling THE NOTES, that can be used as is. This is the main issue.
Fewer and fewer people make music the old school way. Most music makers don't even know how to play cord instruments, since they're sold as synths nowadays.
Nowadays, there are "meow music software" that are in-browser and "in the cloud", that run on any device regardless of the OS. One of them is even backed by Universal (https://www.universalmusic.com/universal-music-group-and-bandlab-technologies-announce-first-of-its-kind-strategic-ai-collaboration/ ), which means they are serious and approved. Which means their electronic synths can be used without issue. That's good for EDM. The "down side" is as it's a free to use software (with advert), you can use all their stuff for free (synths, software, loops, effects and AI melody making software), but everybody else can also use the music you made from it. It's good for EDM, as people like to remix songs.
​
Anyway, speaking of techno music/EDM, that's the kind of music that defo needs voice/pitch correction. Maybe singing high pitch and adding effects would do, but let's be honest, voice/pitch correction is what makes the ethereal effect possible.
​
The main point : Can anyone make a software that runs NATIVELY on Linux for recording the voice adding voice/pitch correction ? Like, a standalone software just to record the voice (with or without ability to play music in sync) or a plug in for an existing one (again, which runs NATIVELY WITHOUT THE NEED OF WINE).
​
From what we found on g00gle, it seems to be a slippery slop and coders would NEED TO BE CAREFUL, indeed. HOWEVER, the old school voice/pitch correction from the 1990s is what most people would want, simple and efficient. AND THEIR PATENTS HAVE EXPIRED IN 2018. 😺 We're talking about the software that were massively used by radio hosts in the 1990s (and later), that makes the voice "warmer" (or is that what "rounding the notes" mean ???) and capable to hit higher notes. It seems it also fills the blank of the voice, to give the impression that the note is maintained smoothly. (Not sure of the wording, not a musician and English is difficult).
That being said, more modern voice and pitch correction software are still patented (set to expire in like 2035, so be sure to not infringe that !!!).
Since all the MP3 stuff patents have also expired, maybe things are easier to do ??? (Legit question, most of us don't really know how it all works).
Also, to be clear : WE'RE NOT TALKING ABOUT AUTOTUNE (vocoders) !!! Ffs, leave autotune and it's robot unnatural effects in the 2000s, where it belongs.
We're talking about smooth correction. SMOOTH is definitely the word.
Since it's from the 1990s, we're assuming there was no AI involved ? (I think everybody can forget about AI, gotta be patented to the core ????)
Also, something with settings like "mild" and "strong" to let singers decide if they want lots of correction or just a bit, would be great. Sometimes we hear songs, and the singer's voice is so processed, they sound unnatural, that's clearly something that most want to avoid.
Nobody is telling people to make software for free, but in such case, make sure people outside the USA can actually purchase it (DO NOT only accept Paypal or USA only payment methods).
​
Now, speaking of AI, we don't know if people from OpenAI or Microsoft (or other companies that work on AI) stan our subreddit (I mean, the ones who know how to code), but since AI might be good for voice / pitch correction, instead of making boring bots nobody cares about, maybe they could do a software like that ?
Also, since Microsoft 💖 Linux and sit on the Linux Foundation board, they would have no issue releasing a software that RUNS NATIVELY on a REAL (not wsl) Linux OS ? (We're still waiting for the deb package of Candy Crush, btw..........)
Something great, that doesn't require a monthly fee, doesn't require an internet connection and that doesn't grant them use of your voice, though... (So, maybe another AI company ?)
Also, if a software like that was to be made by a big company as a paid for proprietary software, I think most Linux users would say "Talk is cheap, show me the code patents !" That is to say, we would want them to show the AI technology used in such software is patented by them (or a proof they're paying the patent licensing fee and that users can use it without being sued).
​
(Software patents should be abolished, don't get me wrong, but let's live in reality, shall we ?)
It think most musicians would still rather pick a software made by Linux devs, though.
​
That is all.

Can anyone please tell me how I can get Ozone 9 and WavesFactory Trackspacer for free? I am a singer songwriter and am a total newbie to the whole DAW stuff. I got Cubase with the Audient Evo4 bundle as a promotional offer and manually EQing and Mastering my tracks is next to impossible for me right now. Plus obviously, I don’t have the money to buy these plugins at the moment. Relying on Reddit🤲🏼

This is a Work in Progress where I try to compile the interviews related to CBU3 composers working on the game, especially for FFXIV and occasionally FFXVI OSTs. This will include text and video interview. I don't do Japanese, so the best I can do is to rely on machine translation for text only, such as DeepL. With that I can only summarize some key points. For video interviews, I don't have a capability to translate unless there's a translation version. If the compilation is eventually a bit more structured, I'd like to compile in Google Sheets. Corrections are welcome.
The interview order is grouped by recent game/expansion. Let's begin

Usual sources and queries

Natalie - query: final fantasy xiv
Famitsu (this one is hard to track) - from the writer
Dengeki Online (query: ffxiv)

Interviews: Endwalker (all patches)

FFXIV Growing Light (6.x) Interview - Natalie (2 pages) - 3 April 2024: https://natalie.mu/music/pp/ff14ost
Notes:

1. Behind the scenes of Growing Light OST with Soken-Imamura-Ishikawa and also some bits of FFXVI.
2. They thought the music was getting easier. It's not
3. Mentions new composers Saya Yasaki and Justin Frieden to music team. Both entered in 6.1
4. Some tracks were assigned randomly so that they would adapt to any role and music implementation. Some got instant pass ("OK"), some had to be revised
5. Their workload became intensive when they were composing FFXIV and FFXVI at the same time. Soken said that it's hard to do but at least both game's music visions were given so that he knew when was the time he have to compose/supervise both game's music
6. Pandaemonium and Myths of the Realm are oppositely themed, between dark and gritty, and heroic and joyful
   1. Each Pandaemonium tier has their own theme. Abyssos uses dark and mysterious tones. Anabaesios uses upbeat style. On Scream, Imamura had opportunity to do some band composition. It was so good even Soken had to request permission to do PRIMALS version. As for Ishikawa, he arranged Ultima's Perfection as per his capabilities on orchestral arrange. He adjusted the length too
   2. For Myths of the Realm, especially Thaleia tier, Ishikawa had to theme "Latin" music. The direction was to give lighter theme without being too grandiose
7. MSQ tracks: some tracks were given liberties for each composers
   1. Regarding FFIV tracks, Soken arranged Battle 2 with modern style; Ishikawa arranged Battle of Four Fiends with orchestral route, Imamura had to chase the deadline for arranging The Final Battle with electronic flair as the assignment. This electronic flair was recognized when Imamura arranged Catacecaumene from FFXVI
   2. When Soken arranged The Red Wings, he couldn't find the good solution for trumpet, so he performed the trumpet in his home at 2 a.m.. He felt uncomfortable because it would annoy his neighbors. The track finished in three days
8. Other tracks:
   1. Usually there are strict rules on the theming ("don't do this style!"), but in some occasions, some composers were shocked when they're told to be contrary ("let's break that rule!"). For example, Ishikawa arranges Dreamwalker (the Lopporit tribe theme). It got instant pass ("OK")
   2. Some older tracks managed by Soken which appeared on previous expansions were corrupted, in this case, Stormblood/Kugane theme. When he told Imamura to rearrange (which is the Mt. Rokkon criterion dungeon), he understood the assignment for rock arrangement since it's his comfort zone. This case is also the same for other composers. In Ishikawa's case, he had to hear the mastered version of older tracks to inspire his work on Myth of the Realm
   3. As the intense workload coming to the end, especially after composing some FFXVI tracks, Ishikawa had to relax a bit while there was another assignment, so he tried to compose some relaxing tracks. That turned into Island Sanctuary theme
   4. Some new Hildibrand themes were inspired by modern settings such as convenience store/supermarket
   5. Ishikawa was challenged during his work for Pulse album as he wasn't versed with electronic music.
9. Pre-Dawntrail:
   1. At the time of interview, The team entered intense days. The direction is different than usual so they have to compose new melodies

FFXIV Endwalker (6.0) OST Interview - Famitsu (part 1) - 16 February 2022: https://www.famitsu.com/news/202202/16251378.html
You may rely on this transcript here. Sadly OP deleted the account
This is an interview about how Natsuko Ishikawa and Soken worked on the music
FFXIV Endwalker (6.0) OST Interview - Famitsu (part 2) - 17 February 2022: https://www.famitsu.com/news/202202/17251506.html
The second part of the interview talks about the music team for the game
Notes:

1. First interview with Takafumi Imamura and Daiki Ishikawa. Both were interviewed by Soken in their application process
   1. Imamura was a music graduate. Participated a competition to provide songs to artists at 24 years old. Stay low until 27 years old. Has hobby about FPS games
   2. Ishikawa was a law graduate interested in VGMs, played viola in an orchestra in high school, taught by professional conductors
   3. At that time, the music and sound team needed more staffs
2. First works:
   1. Imamura's first work was Amaro mount theme, inspired by FFX's Besaid Island. His first arrangement assignments were Eden Leviathan (Blinding Indigo) and Eden Titan (Landslide)
      1. Gives great impression from Soken that he asked for permission to use for PRIMALS concert later
   2. Ishikawa's first work was "Reason to Live" (Il Mheg hub theme). Soken said if it's not working, he could do it on his own unless it worked good. His other first work was Mt Gulg from Shadowbringers with some advice
   3. To understand the implementation, Soken assigned them to play the game first. It took them 3 months. At that time, the game was in patch 4.5
3. Music implementation:
   1. Soken rather makes song that is a part of the game than stands on its own. He emphasized game composers also need conceptual understanding of their games including music implementation
4. Early impressions:
   1. Imamura thought Shadowbringers' story was good. Ishikawa's perception had changed since he played FFXIV
   2. Soken liked that they have different ideas so the music team can inspire each other. At that time of producing, with their work, Soken, aside from assigning the music to them, also predicted what the songs would sound like. For example, he predicted how Imamura's arrangement sounded like since he was a band member
      1. He already recognized their style just by their background
      2. He may refer himself as "Tank", Ishikawa as "DPS", and Imamura as "Healer"
   3. Sometimes the results had no compromises (OK/pass or NG/reject). Imamura stated it would take 2-3 months
   4. Since Ishikawa was an orchestra member, whom most partners were artist-oriented, his thoughts around Soken was he's more into game-oriented
   5. When first Ishikawa produces music, Soken thought it's like something that comes from supermarket, a typical pitfall for early and aspiring composers
5. Music producing process:
   1. Natsuko Ishikawa (story director, not to be confused with Daiki Ishikawa, the composer who's being interviewed here) drafts the idea of music to Soken (music director) during Endwalker. Soken then showed the draft to his team. Their impression was exhausting because the draft has too many lists to do. The lists were in Excel
      1. During Shadowbringers, they were only given assignments, not direct drafts
   2. During the process, they have to divide the workload for each other. In free time, they had idea to do something outside their expertise
   3. They had to complement each other's ideas to produce the best quality since in early expansion (x.0), they don't want any compromise. They ensured not to get sidetracked by some ideas coming mid-process. This resulted in consistent fundamentals such as the melodies or motifs
6. On Endwalker music:
   1. Imamura rearranges "Answer" on piano, and also co-arrange "Your Answer". At that point, he felt he couldn't play something bad
      1. With Ishikawa, both want to "give it to all"
      2. For "Your Answer", it was a co-arranged as they were in the same workload (they were excited for it). This was also the same as when they arranged "The Tower of Zot".
      3. "Your Answer" was difficult to arrange due to the fact it had to cover emotions of the track, between epic and calm.
   2. Ishikawa's work, "Home Beyond the Horizon", was decided by something like rock-paper-scissors. He lost then he had to arrange those
      1. Natsuko ordered this kind of song with a description of "woman singing on a black-white screen"). The question, who's going to sing? Ishikawa then recorded at his home with voice filters (may sound weird for his family)
      2. Soken stated this kind of work was basically how the sound team worked. That also included player voicelines
   3. Imamura's work, "On Blade's Edge" was used to be a benchmark music, but Yoshi-P rejects the idea of rock music being used. Soken suggested the music should be used in mid-boss theme
   4. Ishikawa's another work, "Finality", started as benchmark song. It was difficult to compose that he tried to consult Soken many times. It took the most hour for him, even Soken said "don't overwork on this one"
      1. Ishikawa then rearranges from the scratch (note: this may be the origin of "Heroes Forge Ahead")
   5. Soken's philosophy since ARR was that FF can use any technologies for its soundtrack. He wanted to believe some tracks were having impression of final boss
   6. Soken challenged them to compose for Old Sharlayan theme. As the result, Ishikawa played the day portion, whereas Imamura played the night portion
      1. At that point, Soken had entrusted them to do some compositions over past 2 years
      2. Ishikawa actually performed the guitar, strings, and flute on the day theme, while Imamura had and idea of "seaside at night" with Crystarium night theme as reference
   7. Radz-at-Han music was drafted from Natsuko, then implemented as intended. The music was contextual at first which was sadder compared to later story (this music was arranged by Ishikawa). At later story, Imamura who composed day theme was inspired by Indian dance music. Ishikawa also arranged for the night theme
   8. "Flow" and "Flow Together"
      1. The guitars were performed remotely by GUNN. At first, there was no amplifier, so the sound may not be as desired. Then, Soken used his virtual amplifier to work around
      2. The remote work was set up in 30 minutes
      3. Ishikawa's impression of "Flow" was confusing at first because the melody kept changing. After added vocals, his mind was blown by the fact it could blend perfectly
   9. The way they wanted to make story moments were taking screenshots then convey into storyline (just like storyboards). This was also applied in the credits scene
7. Pandaemonium series
   1. The recording was with THE PRIMALS when they did a Endwalker 7-inch vinyl single. After that they jumped into the recording for the chorus (note: may refer to "Hic Svnt Leones")
   2. Unlike gothic themes like in Weeping City of Mhach, Soken wanted to direct something like "Japanese RPG Gothic style". At first, the track sounded divisive between JP and global player, but he believed this would take forward for future story
8. Patch 6.1 and beyond
   1. As for preparation, Soken wasn't used to adapt like what the team used to do for post-expansion patches. They said they couldn't "compress" the amount of the drafts and tracks. It was hectic at that time. The amount is more than what's in 3.0 and 4.0
   2. At that time, the team needed more composers, so they put an job application page for composers

Interviews: FFXVI

FFXVI OST interview - Natalie (4 pages) - 18 July 2023: https://natalie.mu/music/pp/ff16ost
Notes:

1. Past profiles and job interviews:
   1. Imamura pursued music since junior high and formed a band. Started writing songs during and after college times. When interviewed by Soken during application, they mostly talked about games
   2. Ishikawa started as law graduate and worked as general affairs in electronic company. He played viola during his time in school orchestra
   3. Soken stated while everyone can compose music, in this case, game OSTs, they need to know the context and sound requirement of how that game works. This works for both application interviews
2. First FF experience: Soken started with 3. When 7 came, he's already working for music. Imamura started with 7 whereas Ishikawa started with 4, 5 and Chrono Trigger
   1. Soken started interest on game music when he graduated from science major at chemistry (not mentioned in interview). At that point, not only music, but sound design was his interest too
3. Initial FFXVI production:
   1. It was started 7 years ago (at that time of interview) and the sound+music design had to be planned
   2. When Imamura and Ishikawa just joined the team, they were confused whether they worked for FFXIV or FFXVI. The specifics were in February 2020 (not in interview: they first worked for CBU3 in Shadowbringers, which is 2019 title - VGMDB)
   3. Yoshi-P wanted the theming for this game around the orchestra, but not strictly, so they still can have flexibility
   4. Soken said his mind was polarizing when he switched working on FFXIV and FFXVI at the same time. That's because FFXIV music was supposed to be expressive in style (with some restrictions)
   5. From production standpoint, Soken needed to specify the length and amount of tracks, melodies, and motifs to be used so it wouldn't clutter. Soken also explored how dynamic music works for PS5, such as how to cut tracks between moments, how does layering work, etc.
4. Music implementation:
   1. The team wanted to give immersive experience during transitions to mitigate "unnatural" sounds
   2. Speaking of FF music, Soken always refers Prelude, which is Nobuo Uematsu's work. Since it was composed for a real time action RPG, the team needed to incorporate how the motif is used effectively
   3. Uematsu once spoke to Soken when they were in the concert (not in interview: may refer to PRIMALS concert 2022) that FF is the most flexible in case of music. But with respect, the team decided to carry that ideas to ensure the flair didn't gone
   4. FFXVI main music theme revolves around the main characters, particularly the Eikon dominants
5. Disc 7 and 8 (FFXVI spoilers):
   1. As the game approaches the climax, Imamura worked on Bow, whereas Ishikawa worked on Holos, which appears for cutscenes
   2. For epilogue, "A New Beginning" was Soken's idea to play in string quartet. As that was assigned to Ishikawa, he instantly knew about how the music worked
   3. Disc 8 existed for unused tracks. These tracks weren't qualified for final game due to how the game is implemented at that time. Some tracks were rejected by development team
   4. "My Star" was requested by the music team to let Amanda Achen perform. She was experienced for that kind of track (jazzy & mellow piano tunes). At that time, the timing was tight for them to produce
6. General FFXVI music:
   1. Soken said "Find the Flame" was childish because it was one dimensional and supposed to be a hype theme before FFXVI were out
   2. Imamura stated "Catacecaumene" was used as if the character entered the alien dimension. It was his style all along. He's also responsible for Cid's theme in FFXVI, inspired by FFX's Auron. He wanted to have relaxed feeling to the track, as it plays on Hideaway
   3. Ishikawa's first FFXVI work was in Greatwood which was composed in 2020. He didn't know it went to FFXVI
   4. Less live recording due to the fact some digital libraries are capable to do so (and cost considerations, even though Soken didn't state limited budget), but occasionally used for tracks with lyrics. He also stated some tracks were not produced live, but they prefer it to incorporate to game experience

Interviews: Shadowbringers

Alex Moukala Interview
Summary:

1. Soken came from chemisty major, then interested in video game sounds and music
2. He came late for interview (on the verge of closing). Surprisingly, the one who interviewed him was Nobuo Uematsu himself

Soken's Play by Play Interview (during Shadowbringers 14 hour broadcast)
Summary:

1. Soken's work during Shadowbringers up to 5.3
2. He uses Cubase as main Digital Audio Workstation (DAW)
3. He likes to install some weird instruments/sounds just in case if other directors wanted to assign something to him
4. Showcases:
   1. How "To the Edge" worked, including raw and tuned Jason C. Miller's vocals
   2. The use of voice filter in vocal tracks, especially Koji Fox's first stint at "Locus"

Shadowbringers Behind the Scenes: Sound and Music Section (official channel)
Summary:

1. How Soken composes music at that time and how he assigned to some sound team to produce sounds for the trailer

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Others are coming soon. If you find some interviews about them, you can comment. Older expansions/patches are welcome too
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My other soundtrack review posts

My Logic Pro free trial recently expired and I've been trying for a week now to buy Logic Pro but due to some unfixable app store error it just won't work.
The frustration has reached the point where I'm actually considering to buy Cubase instead since many people experienced with both Cubase and Logic are very positive about it.
I've only worked in Logic for a couple of months with no prior DAW experience, so my main concerns are about the learning curve of the transition and above all, a beginner-friendly and intuitive interface.
Also, should I go for the pro or artist version? I'm aiming at making professional-level scores at some point in time. For the moment it's just a hobby but I am serious about it.
Edit: Another concern is if Cubase has as much online guides/tutorials as Logic Pro for when all sorts of workflow issues should arise - and I'm sure they will.
Thanks!

Sorry Im new
I have midi set up and when i press, the sound bar goes up so I know its responding to inputs.
But when I open free orchestra in kontakt plugin, no sound comes out when i click, despite getting visual feedback. I have no audio in cubase or youtube as well, even though I have "release driver when application in background" checked for my asio driver (asiuo4all v2)
In Audio Connections Outputs, I have "Not Connected 1" and "Not Connected 2" for Stereo Out Left and Right. I believe this may have to do with having 0 audio when cubase is open. But I don't see an option to assign them to anything? I right click and see no options. I have a kontakt 01 track, but I don't see any way of assigning it to the outputs. Sorry, google hasn't led me to any solutions despite trying for a while now. Any advice appreciated. I just want to try my free orchestra tracks in cubase (im new to all this)
​

Yesterday i bought my first synthesizer. I choose the Reface CS after reading some reviews.
I love it but have some questions.
I would love to be able to loop multiple sounds together, what would you recommend?
ill be taking the CS along with me on the road so any suggestions for a portable loop pedal or other similar alternatives are very welcome!.
I also want a DAW for home use, at least until i get my hardware pedal. But.. I havent gotten any of the many free/trail DAWs to work. I did spend considerable time researching but to no succes.
CTRLR doesnt seem to sync live (or well, it did at a fluke but not anymore) so i have given up on that. Next i tried to find out to record my midi keys and then convert it to audio tracks in DAWs but it seems all way too complicated for such a simple task. Im honestly lost on this one. Tried Cakewalk, reaper, waveform. In the past i found Albeton too much interface hassle for a simple task such as record and play.
Cubase looks promising but im not willing to invest that kind of money for the software yet.
​
What other mods/filters would you ad to the the CS? If possible keep it portable (batteries and low formfactor and lightweight), budget for that is about 250?
Any advice?
​
THnx

I have recently gotten a performance contract for cruise ship, I will be away for over 10 months, so I will need to adjust my current setup to allow me to continue to work on my other projects while I'm in my cabin during free time. Luckily, I'll be getting a solo cabin since I'm a conductor so that will give me a little bit more space.
​
This is what I'm currently working with:
I have a windows desktop with dual monitors (obviously too big to fit into a suitcase) I bring it up, because it is a Ryzen 1700 and RX 580 with 16gb of Ram. I use it as my primary setup for working on projects at home with Sibelius, Cubase, and Pro Tools, and I also use it for gaming as well. Its starting to show signs of age however, and I definitely cannot bring it aboard.
I have a windows laptop, This one to be precise: https://www.amazon.com/2021-Dell-Inspiron-5515-Touchscreen/dp/B098TNS89G
Its still going pretty strong, and if I can keep this as my primary tool for sheet music notation and DAW that would be nice.
Also, I am going to need a tablet. I typically read printed sheet music. But I only have so much space in my suitcase, and I cannot be bringing 20+ piano books with me for the solo piano sets I am required to play. the 12.9in M1 Ipad pro seems like the best option.
In an Ideal world I would like to use my laptop, as the primary machine, and then use the ipad as a second display while working on projects, and be able to take it to read sheet music off of during solo sets. I've heard mixed reviews about using duet display/Spacedesk to do it, but I've heard you can do it with a usb-C cable now? which should be more reliable than the wifi connection (which will be mediocre at best on the ship).
Would I be able to output to an ipad for a display if i used a dock like this? https://www.dell.com/en-us/shop/dell-universal-dock-ud22/apd/210-bexdocks And then used a Bidirectional USB-C to DP cable with spacedesk?
Eventually i'll need to get a Macbook pro because it seems like every single gig requires Mainstage, and the writing on the wall is telling me I will need to eventually convert over to Apple fully, but that's just not in the budget at the moment, but when I get back i'm considering going for one of the M3 pro macbooks with a dock to replace the desktop and laptop both, but then I loose out on Gaming on a windows machine.
My old boss when I worked IT said I should abandon the ipad as a monitor Idea and just get an additional screen extender for the laptop like this one: https://www.amazon.com/Maxfree-S1-Laptop-Screen-Extendedp/B0CGCMHJVY?th=1. But it looks a little janky
Ah well. What do? I have to buy a smaller midi keyboard as well, and I'd rather not go over 1500 for all of it.

Studio One 6 – Version History and
Release Notes
This document lists all Studio One 6 maintenance updates and their included fixes and
improvements.
Version 6.6 Release Notes (April 2, 2024):
New Features and Improvements:
● New publishing and Digital Release option “Upload to TuneCore” (TuneCore Client) for
direct distribution on major social media and streaming platforms
● Support for Dolby Atmos composite beds (extending 5.1 and 7.1 beds with up to 6 top
surround channels using objects)
● Mute/Solo function for Dolby Atmos bed channels in Dolby Atmos Renderer window
● [macOS] Apple Spatial Audio Binaural Monitoring Support
● [macOS] Support for Apple AirPods Pro/Max head-tracking and PHRTF (Personalized
Head-Related Transfer Function)
● Macro Toolbar and Macro support on Project Page and Show Page
● Improved Lyrics Display on Song Page and Show Page
● New virtual instrument “Lead Architect” (included in Studio One+)
● Pause/Resume content downloads in Transfers window
● New recording template for Fender Tone Master Pro
● Improved VST compatibility - Please update your plug-ins to the most recent version
● [Linux] New API for 3rd party developers to implement plug-in GUIs under Wayland
New commands:
● Arranger Track
o Goto Section
● Gadgets (Extensions)
o TuneCore Client
● Show
o Select Player
o Select Setlist Item
● View
o Macros
● Dolby Atmos
1
PreSonus Studio One 6 – Version History
o Toggle Speaker Format
o Speaker Format 9.1.6
o Speaker Format 7.1.4
o Speaker Format 7.1
o Speaker Format 5.1.4
o Speaker Format 5.1.2
o Speaker Format 5.1
o Speaker Format Stereo
o Speaker Format Dolby Atmos Binaural
o Speaker Format Apple Spatial Audio
o Toggle Headphone Format
o Toggle Renderer
o Toggle 3D View Free
o Toggle 3D View Front
o Toggle 3D View Left
o Toggle 3D View Right
o Toggle 3D View Top
The following issues have been fixed:
● "Add Insert to Selected Channels" command fails after using "Add Bus for Selected
Channels" command in Macro
● Adding, removing, and zooming a large number of tracks is very slow
● [Ampire] Audible pop when exporting mixdown
● [Ampire] Random gain values in different amps
● [Audio Batch Converter] Export doesn't reflect processing of “Repair Sample Rate”
● Audio Bend context menu items duplicated when multiple songs open
● Automation doesn’t follow when packed to Folder Track
● [Impact XT] Can’t replace sample, add, or clear pad when Impact kit isn’t found
● Channel level meter not entirely visible when Record or Monitor enabled
● CPU Spikes when changing track input in a song with several tracks and channels
● Crash when selecting Folder Track and main out Automation Track, followed by "Duplicate
Track" command
● Crash when switching between songs with pinned editor
● Ctrl+Click on track name deletes track
● [macOS] Default "Delete Time" command [Alt][Cmd][D] conflicts with macOS shortcut for
"Show/hide Dock"
● Dragging plug-in to Folder Track creates new track
2
PreSonus Studio One 6 – Version History
● Dragging event with crossfade only shows topmost fade when track is in "Play Overlaps"
mode
● Dropping instrument to bottom of Folder Track is tricky
● Export mono track to stem doesn’t respect panning
● First metronome click is muted occasionally
● Folder grouping deletes previous group assignments
● Folder name and color for newly added busses are lost
● Importing a Track Template with chord data alters Chord Track
● Incorrect crossfades with record mode "Replace"
● Lock Pan to Channel state is not recalled
● Locked tracks ignore locking with “Transpose Instrument Tracks” command
● [Channel Strip Collection] Loud pop when enabling VT1
● Lyrics overlap in Score View after extending Instrument Part
● Lyrics stop scrolling while recording
● [macOS native Apple Silicon] Expander only processing on first playback in some cases
● [macOS] [Score Editor] Potential crash on zooming
● [macOS] Adjusting pan and volume is glitchy during playback
● [macOS] Lag when resizing Spectrum Meter
● [macOS] Poor multithreading behavior on export
● [macOS] Potential crash when opening plug-in GUI from Inspector during playback
● [macOS] Redraw errors on closing embedded ARA Editor
● [macOS] Resizing fails for certain VST3 plug-ins
● [MIDI Monitor] Port name not entirely visible with long device name
● MIDI file import is comparably slow with larger files
● MP3 export slow for no apparent reason
● [Multiband Dynamics] Erratic multichannel behavior when GUI is closed
● Multisample File (.multisample) not loading samples in Sample One when imported from
Bitwig Studio
● Piano sustain playback cut off momentarily when soloing / un-soloing Instrument Tracks
● Playback is not possible for first recorded note in bar 1
● Plug-in header not wide enough to show side-chain in some cases
● Rename and color macro doesn’t work for busses
● "Replace FX Chain" replaces wrong FX Chain (FX Chain is not updated correctly)
● [Score Editor] Final bar value can't be changed by dragging the mouse
● [Score Editor] Triplets are not spaced equally
● Selection of Bus Channel doesn't instantly follow when connecting a Folder Track
● [Show Page] Arpeggiator stops when transport is relocated
● Solo state is not recalled in Mixer Scenes
3
PreSonus Studio One 6 – Version History
● Song export to MIDI is slowed down in certain cases
● [Sound Variations Editor] Scroll bar not usable in certain cases
● Studio One cannot connect to certain iPads to send data to Notion
● Time signature is not created at certain cursor positions
● "Track Archive" import from Cubase misses pan automation
● Track name is overlapping track icon if automation is shown
● [Transport] Adjusting tempo by dragging shows extra decimal places
● “View - Editor” command does not set focus correctly when used inside macro
● [Vocoder] Read automation not working for “Hold” parameter
● [Windows] Object Panner "Edit Pan Automation" pop up is awkward to handle
● [Linux] Add-on activation fails or crashes in certain situations
● [Linux] ALSA control panel doesn’t update values
● [Linux] ALSA MIDI output ports don’t auto-connect
● [Linux] ALSA MIDI timing is inaccurate
● [Linux] Ports aren’t updated when hot-plugging ALSA MIDI devices
● [Linux] Potential freeze when using Pipewire-JACK
● [Linux] Incorrect timestamps for outgoing JACK MIDI events
● [Linux] Can’t switch to 64 bit (double) precision processing option
● [Linux] Browser: "Show in File Manager" does nothing
● [Linux] Browser: Files > Volumes doesn't list any drives
● [Linux] Ctrl+Tab doesn’t cycle through open songs and Start Page
● [Linux] Document file name and modification state not displayed in main window
● [Linux] PreSonus ioStation 24c integration not entirely functional
● [Linux] Potential crash on export to MP3
● [Linux] Ranges of vertical zoom sliders are shifted
● [Linux] Studio One won't run under Sway Wayland Compositor
● [Linux] VST3 plug-ins show empty window instead of generic controls
● [Linux] Windows overlap desktop borders in dual screen setup

This is my stuff https://soundcloud.com/psypower999
I am making a plug-in of my own which should be done in couple of weeks. Early supporters will get a free download of the plug-in! (Will be sold at 10$ after 1 week of release and will contain stuff you would take years to figure out ;))
Also if you guys like my stuff then I will make tutorials on sound design with stock plugins in FL Studio and Ableton for those who have only those available. (Sorry, I don’t speak Cubase/Logic but the same theory can be applied to any DAW)
Have a great day/night everyone😙

Usage: I live-stream full time. As a novelty, I do Auto-Tuned freestyles for the people who do special things for me (I.E: Sub, Raid, Donate, etc...). For several years now I've been using cheap junk like the "G3 Soundcard", it gets the job done: AutoTune w/ the option to pick which key you're in, a Reverb slider, and you can real-time listen to yourself with the effects. Which is incredibly important for me.
What I need: EITHER HARDWARE or SOFTWARE that I can use Auto-Tune in real-time and be able to hear myself. Reverb is a bonus, harmony is a bonus, any other plugins / features are a bonus.
Problems:

• It doesn't have to be Antares Auto-Tune, just the function itself. I don't say "Pitch correction" because when I do a lot of people get confused on what I mean.
• Waves Tune, Reaper ReaTune, or ANYTHING that gets the desired effect? I'm okay with.
• I need to be able to use my mic in general before and after my freestyles, so whatever I get has to be toggle-able.
• The cheapest or free option is preferable, but in the rare case that whatever item I NEED ends up being like $500 or something? I'll just sell a few things and save up, so please don't hesitate to pitch it to me regardless!
• I've tried using VST hosts like Cantabile but either couldn't get the latency down enough or couldn't hear myself in real-time. I'm not ruling VST hosts out and anyone with experience please point me in the right direction.

Random: TC Helicon is a pretty good brand from what I've seen but apparently things like their "Mic Mechanic" does not contain Reverb and would have to be paired with something else in order to add reverb. The GoXLR by TC Helicon has a HardTune option that I've never seen sound the way I'd like, also I don't think you can pick the key you want? Not necessary, but preferable. A DJ I met last week recommended the Apollo Twin (aside from the fact that it's kinda pricey? I don't know if it'll meet my requirements. From the limited videos I see, it might not be exactly what I need.

Hi everyone! I have decided to see if I can get into creating music myself. I have Cubase installed and I own a midi controller (AKAI MPK mini), however there is a problem: I can't play a single instrument and I have basically no knowledge in music theory, which makes things difficult for me as I'm not quite sure where to go from here. That's why I'm asking for your help: How would you recommend I approach this? What are the topics that I should familiarize myself with, and ideally, in what order? I get that you don't have to be a music expert to get into producing, however I feel like there are certain skills/knowledge that would make things easier. Basically, I'm trying to map out how to learn efficiently without burning myself out. The music that I want to make (at least in the beginning) are simple, probably sample-based, looping beats and go from there . Feel free to be as brief or as detailed as you like. Your help is appreciated :)