Yoozer

http://www.xkcd.com/627/ This is actually really how I solve anything that's in my way, and it works brilliantly.

Here's the original tunes from I to VI so you don't have to search yourself: http://www.youtube.com/user/constantlimit#grid/user/5646A104A4E5DC00 Also, Cut Man from MM1 NES is MINE. MINE!!!!

Next time give your topic a more useful title than "help me" - call it what you're asking for (like "Where to find this kick and snare"). Here's the cheapass way to do it: go to http://www.breakbeat-paradise.com/bb_samples.php and download the samples. Then, use Audacity ( http://audacity.sourceforge.net/ ) to cut out the separate snare and kick sounds. Save them as separate samples, and you're done. You'll have to live with the quality of the mp3 files, but process them properly and you most likely won't notice much. On the other hand Groove Bias is absolutely awesome and that kind of cash for samples is pretty low compared to most other stuff. Alternatively, get cheaper sample-packs like http://www.loopmasters.com/product/details/60/Hip_Hop_And_RnB_Breaks or http://www.loopmasters.com/product/details/30/Urban_Soul or http://www.loopmasters.com/product/details/278/Akai_Soul_and_R&B (you might have to search a bit until you find something useful, though - these were the results for the "Soul" category). They'll have better quality sounds, even though you'll probably still have to cut some sounds from loops. But that's part of the charm.

You're bragging about something that's not legal. Despite what you or I think about the law, this is stupid to admit on the internet that remembers everything. Your attitude means I - and others - have to pay more. Thanks a lot. Here's a good litmus test on software. With what you have learned, can you recreate a simple, classic pop song? Just try to cover something from the Beatles or something. If the sofware, despite what you have learned, makes you feel that it's just not thinking and working together with you to get the job done, you should switch.

They already sold those handfuls (probably more) of copies; now they've got the chance to squeeze some extra life out of older plugins that have matured in terms of development. Not to say A|A|S Ultra-Analog isn't lovely

Add Ableton Live to that. Thing is - all of 'm have trial versions. Why not give them a try? All the time you're worrying about what's easier is better spent on reading documentation. No audio applications are easy in the sense that they require you to think in a certain way. Reaper's just got the big advantage of a proper wiki. "What's the best X" is in almost all cases the wrong question to ask. It depends on your budget, your needs, and your experience. Without saying what you've already got, what you've already tried, and how much cash you can spend (as a number, not as "lol not too expensive" - because "expensive" means something different to everyone here) the question is useless, too. Besides, any of those pieces of software is going to need a proper soundcard if you want to get the most out of it and record anything, so don't blow your cash on the Ultra Mega Super Happy Schoolgirl Limited Extreme Edition of whatever, because there's a big chance that you're not going to use all those options anyway.

Error in line 1: Define budget as a a positive whole number of currency, since "affordable" means something different to you than it does to me. Do not go the 64-bit route (or even the Windows 7 route) unless you have confirmed for yourself, with currently available software and hardware that you will not run into problems. Having to buy an older license for 32-bits XP or Vista because your soundcard just doesn't work (yet*) on your new, shiny Windows 7, 64-bits simply sucks. Don't do that to yourself. Wait until they've ironed the bugs out. That said, the advantage of having more RAM in 64-bits is going to be pretty awesome if you're running big-ass sample libraries. *a manufacturer's promise is useless in this case. Only actual, tested and confirmed bugfree drivers count.

Ableton Live doesn't do anything else than stretch/compress wave files to their correct lengths. Thing is, when that happens you lose some of the quality and punch of the original, though there are several "smart" algorithms that can find out (or have to be helped a bit) that you're stretching a drum loop so they use a different method that simply detects the separate drum sounds and expands or contracts the space between 'm.

Louder != better. Are your meters hitting the red in FL? Don't do that.

Is that for the computer and the controller? Any computer that's not older than 3 years and has an ASIO soundcard can run Reason, that's not the problem. Get an E-mu Xboard 49 and be happy.

You're not alone. I have to wait for RME and E-mu to fix their stuff, as right now everything's unusable .

I got goosebumps when I heard http://vimeo.com/7305593 at 11:38. Still, Omnisphere's higher on the list, here, too.

It also helps that it's so cheap that it almost falls into impulse buy territory, and it's easy to send back if you don't like it .

That's not an attitude, that's me being '>old and '>cranky. You could've just tried, and you'd have your question answered; every link on the first page of Google explains exactly what it is. Those texts you see there were actually typed by actual human beings. Do you never look anything up if you want to know stuff about something? Forums are for the interesting questions that you can't answer with encyclopedias and dictionaries, like "how do i djp" or "How would I go about orchestrating this particular piece", because there's no straight and narrow answer to those. (the retort being: these are not your forums, and that's just like, your opinion, man). It's not like OCR is going to run out of space or something, but you get way more interesting questions that way, and self-reliance and self-education are important - doubly so because so many people here have to wear several hats (engineer, musician, composer, artist, technician, etc.) at the same time.

The Korg R3 has fullsized keys and costs only a bit more than the XL. For that you get a better user interface, a better keyboard and a more solid machine in general. Buy them secondhand. If you don't like them, you can pass them on for what you bought 'm for.

I come from a generation that learned how to use dictionaries and encyclopedias, through the snow, uphill both ways, and used them as starting points before asking further. Your argument would've had more merit if the Wikipedia definition was not serviceable. Since it is serviceable, you may now get off my lawn.

The way they mention in the manual that it's for CD or MD recorders leads me to believe that it's SPDIF. ADAT carries 8 mono channels; if they would've pictured a harddisk recorder and mention the separate tracks specifically, it could've been ADAT. There's not a big chance of breaking anything; I believe ADAT signals to an SPDIF device simply makes it do nothing as opposed to horrible loud squeals or something. Then again, that's why you have sacrificial earbud headphones.

1900+ posts and doesn't know how to wikipedia Seriously though, old vinyl disco samplers = never ending source of kick drums + loops begging to be filtered and sped up. Be like Daft Punk.

It can be both. However, nobody's helped one bit if you don't tell us what brand and model piano it is. SPDIF also comes in another variant with RCA (cinch) plugs. If it's an Alesis QS, it's ADAT.

The "of course" is sadly enough not as common as you think, which is why I mentioned it. Good to hear you're choosing the straight & narrow.

http://blog.sebastianwaters.com/post/42822801/mercedes-benz-new-sound-logo-just-a-sample-from whoops

An application like Cubase, Logic - and Ableton Live and Sonar and FL Studio too - has a history. Ableton's from 1999 or so (so relatively new), FL Studio started really modest and got all kinds of stuff tacked onto it, Sonar originated out of Cakewalk. Cubase and Logic however came from the old Atari ages and dealt with a completely different kind of studio back then - all of it pure MIDI. ProTools on the other hand only dealt with audio in the beginning: 4 tracks in 1991. Musicians have used these systems for a long time; and most people who have Cubase jumped on the bandwagon rather early and were loyal. In fact, the reason I got to SX3 was because I worked with Cubasis (a lite version of Cubase) back in 1998. Each of the pieces of software has its own philosophy. It expects you to work in a certain way. While concepts such as audio and MIDI tracks kind of work the same, and things like Play/Record/Stop do too (which of course originated on tape recorders; Play simply did nothing but advance the tape, Record enabled another tape head, which is why they're pressed at the same time), there are differences in how MIDI is handled and what you can do with it. Cubase and Logic both used to have (still have? no idea) a wide selection of MIDI tools - if you wanted to randomize velocity over a selection you can do that. Select the notes and then something like Edit > MIDI > Velocity > Randomize, etc. Ableton takes a different approach: instead of dealing with (destructive) operations you simply put a filter/modifier device on top of the MIDI track which randomizes velocity for you. It changes the operation from "printing" (applying the effects to a track) to something continuous. Cubase SX3 assumed that you had a regular studio and came from a regular studio background; I can't explain some of the things that occur in that application otherwise. Cubase works really, really well when you've made a complete translation of your setup in the software itself, by using templates. As an example: SX3 has a limit of the number of insert effects you can use on a single track (6 or so) That would've been understandable if this wasn't the best and biggest version you could use, because the concept of a limit is completely ridiculous when your computer will happily run 120 compressors, equalizers and reverbs at the same time. In hardware studios you don't hook up 6 devices in a row unless you're a guitar player, but that's completely based on 2 things: - don't overdo your signal chain because of noise and signal degradation - you simply don't have 6 effects boxes! (the solution was to simply re-record a track with say, 3 effects, then change the settings, and put that effected track through the effects again). In a computer, this simply does not apply. So, by keeping to that "old" philosophy it completely ignored the advantages computers could bring to the table, and if you never had a hardware studio yourself where you had to wire up stuff and had a limit on the number of FX or synths, you would've seen this as completely incomprehensible. So, summarized; the reason to pick Cubase because it works and thinks like you expect it to do. You don't pick it because other people pick it, because they might think in completely different terms and come from different backgrounds. Even then, don't "get" your software from your friends; man up and buy it. Cubase 5 Studio does everything you want already. Simply put your usage of it against the time you're going to use it, and when you realize that you can spread out buying it over 2 years by paying $1 a day, you're really getting a lot of power for pocket change.

Is that the ancient Cubase VST 5.1 or the brand new Cubase 5? If it's the old one you have to make sure both output ports of the Audigy are checked in the "ASIO Multimedia Setup" window. For the rest I won't have much of value to contribute, since I dumped Cubase for Ableton Live. Look at the plug that you're using to connect to the speakers - it is stereo, right?

Worrying about the sound of a DAW is the least interesting thing. Worry about your room acoustics, your soundcard, your plugins and your microphones first. Personally I thought Audition had a shitty user interface. If you find things you can't do in Audition, switch. As for Cubase; volume change means there's something wrong with the way your soundcard is configured in Cubase, or you're using the wrong cables, or.... Pretty hard to troubleshoot when you don't mention which version of Cubase or what model & make your soundcard is.

Ahahaha. If you want to avoid this, get your Youtube and Myspace and Soundcloud and whatever accounts and post your mp3 on it. That way, everyone duplicating it will do so on a later date and time, and not on your own account.