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One of the main guys behind the top audio app cracking teams died some time ago from what i hear.. there's nobody to replace people with that level of talent. The kind of things they pulled off such as the Synchosoft emulator were among maybe the most difficult cracks ever done by any release group; and the private release scene, as a whole even, is most definitely dying.

High-end application cracking is the first software cracking area that will be shut down by the fact it's simply too much work. It's not just slowing it down, it's making it a full time job on the part of the cracking group.. and fact is only one group relying on a tiny amount of talented individuals were the ones to do the most difficult apps (H2O/AiR). Even non-dongle systems could be made hard enough eventually (see Starforce protection for games, they should have marketed that to app companies).

Kilo Graham wrote:It's not just people not knowing about it. Ask Skrillex if he's ever heard of Reaper, I'll bet he has. He still uses something else.

Not sure what you mean here. That guy makes some of the worst music around imo. But personal tastes aside, just because it's popular doesn't mean someone is above using certain software or that it can't accomplish the same thing. I would not be surprised if he gets kickbacks/money for promoting certain things. He is also said to be a user of 'Beats' headphones. Do you really think he would prefer those over something of obvious better quality? Marketing is half the game. I'd also bet if he used Reaper as you mentioned, his music wouldn't sound much different. As a broad example Kryptic Minds used to use Nuendo in dnb, now they use Live. The music sounds almost identical minus the tempo.

It would surprise me if he didn't. That's called sponsoring. Suppose you're Ableton's CEO, you pay for ads in magazine, and presence and so on... When a guy gets big, it promotes your stuff, you would give him a lifetime openbar on Ableton/CDJs/NI plugins/... plus a bit of money. it's way cheaper than the other way.
Many kids will get some CDJ and cool softwares for Xmas (legally), that's not a bad thing for the business.

If a reaper user gets big, and it can happen, even with a lame automation handling, it'll be reaper's turn.

Any of you guys tried LMMS (it's a kind of free software Fruity Loops) or Ardour* (kind of free software protools (- MIDI notes (you can still map some CCs , but no piano roll... last time I used it), few years ago), it works great for recording)
These are free solutions. You can do some stuff with them. Despite they're lacking a lot of feature, and the userbase is small, and the projects started from scratch, with small team/userbase : they couldn't release an usable and fully tested products, which gave it a bad aura.

*This is very serious recording stuff, good performance, nicely built, no limit. Mixbus is based upon it, and SSL (Solidstate-Logic, the 1000000$ broadcast consoles, not Serato or HTTPS) tried to integrate a heavily customised version in their hardware.

wormcode wrote:

Kilo Graham wrote:It's not just people not knowing about it. Ask Skrillex if he's ever heard of Reaper, I'll bet he has. He still uses something else.

Not sure what you mean here. That guy makes some of the worst music around imo. But personal tastes aside, just because it's popular doesn't mean someone is above using certain software or that it can't accomplish the same thing. I would not be surprised if he gets kickbacks/money for promoting certain things. He is also said to be a user of 'Beats' headphones. Do you really think he would prefer those over something of obvious better quality? Marketing is half the game. I'd also bet if he used Reaper as you mentioned, his music wouldn't sound much different. As a broad example Kryptic Minds used to use Nuendo in dnb, now they use Live. The music sounds almost identical minus the tempo.

From Nuendo to Live. Skipped right over reaper!

You can talk all you want about how reaper is equal to the others, but the others are still getting sales. That speaks volumes, whether you want it to or not.

As long as it doesn't require a dongle, I don't care what they do.

Kilo Graham wrote:From Nuendo to Live. Skipped right over reaper!

You can talk all you want about how reaper is equal to the others, but the others are still getting sales. That speaks volumes, whether you want it to or not.

Volumes to what? Live is a few years older than Reaper, and is the in thing right now, doesn't mean it's the best. I personally don't like it. That doesn't mean it sucks or it can't do anything, it's just interface and workflow preferences. In 2012 DAWs are all but equal otherwise. A couple of years ago Logic was the in thing, Cubase before that etc... A lot of people just choose software because they hear ___ uses it.

wormcode wrote:

Kilo Graham wrote:From Nuendo to Live. Skipped right over reaper!

You can talk all you want about how reaper is equal to the others, but the others are still getting sales. That speaks volumes, whether you want it to or not.

Volumes to what? Live is a few years older than Reaper, and is the in thing right now, doesn't mean it's the best. I personally don't like it. That doesn't mean it sucks or it can't do anything, it's just interface and workflow preferences. In 2012 DAWs are all but equal otherwise. A couple of years ago Logic was the in thing, Cubase before that etc... A lot of people just choose software because they hear ___ uses it.

I wouldn't say they're all equal, mainly because some daw's do things drastically easier than others. For example, i can almost totally customize Cubase's key commands and set up multiple monitor/headphone outputs in control room. I can't do this in Ableton as far as i know.

fuz wrote: If a reaper user gets big, and it can happen, even with a lame automation handling, it'll be reaper's turn.

Reaper is already widely used.
The philosophy won't change.
Offer an amazing product at an affordable price.

I still don't understand the issue with automation.
I haven't got one personally.

VirtualMark wrote:

wormcode wrote:

Kilo Graham wrote:From Nuendo to Live. Skipped right over reaper!

You can talk all you want about how reaper is equal to the others, but the others are still getting sales. That speaks volumes, whether you want it to or not.

Volumes to what? Live is a few years older than Reaper, and is the in thing right now, doesn't mean it's the best. I personally don't like it. That doesn't mean it sucks or it can't do anything, it's just interface and workflow preferences. In 2012 DAWs are all but equal otherwise. A couple of years ago Logic was the in thing, Cubase before that etc... A lot of people just choose software because they hear ___ uses it.

I wouldn't say they're all equal, mainly because some daw's do things drastically easier than others. For example, i can almost totally customize Cubase's key commands and set up multiple monitor/headphone outputs in control room. I can't do this in Ableton as far as i know.

Yeah that's what I meant by interface and workflow preferences, but other than that they are equal in terms of sound/ability/features. At least, I've not come across a feature in one DAW that I couldn't do in another, it's just a matter of doing it differently. I've seen Ableton Live shortcut keyboards before, but I'm not sure if it's quite like Cubase's or not. That's much the same reason I still prefer Sound Forge over any other editor, I can type out all the commands and edits via shortcuts very fast for smooth workflow with minimal clicking. It doesn't mean it's better or others can't do that, it's just what one becomes accustomed to and feels comfortable using.

Electric_Head wrote:

fuz wrote: If a reaper user gets big, and it can happen, even with a lame automation handling, it'll be reaper's turn.

Reaper is already widely used.
The philosophy won't change.
Offer an amazing product at an affordable price.

I still don't understand the issue with automation.
I haven't got one personally.

^ This.

What it comes down to for me is the message Reaper is sending their users: "look, we don't want to fuck with police and lawyers and shit either - we're like you. Our company is not some bloated beast with dedicated marketing and sales departments that necessitate recouping revenue anywhere we can lay our hands on it: instead, we give you a powerful tool and if you want to do the right thing, send us some money. That's all."

Because no matter how you feel philosophically about piracy, the fact remains that it IS and cannot simply be waved away with magic legislation or technology. In fact, a lot of the guys developing the security protocols for these companies are the same folks that'll turn around and hack it off the clock - something that the record & movie industries still fail to grasp.

u can set reaper up to open the automation lane for the last used parameter + set automation points in selection + mkake automation lane rely big in like three key strokes. u ppl just gotta learn

edit: its still a bitch sometimes but w/e

wormcode wrote:

Kilo Graham wrote:From Nuendo to Live. Skipped right over reaper!

You can talk all you want about how reaper is equal to the others, but the others are still getting sales. That speaks volumes, whether you want it to or not.

Volumes to what? Live is a few years older than Reaper, and is the in thing right now, doesn't mean it's the best. I personally don't like it. That doesn't mean it sucks or it can't do anything, it's just interface and workflow preferences. In 2012 DAWs are all but equal otherwise. A couple of years ago Logic was the in thing, Cubase before that etc... A lot of people just choose software because they hear ___ uses it.

volumes as to the quality of the cheaper DAWs. Sure, it can do lots of things. People still pay for the other. Don't tell me that means nothing.

It means nothing...For Example

Company pays producer x to use product y. Fans looking to get in to production see producer x uses product y. Fan buys produce y because producer x uses it. Other companies see fans using product y, and create tutorials and classes on how to use product y. Fan using product y becomes skilled and develops fan base. Fan base ask what software they use. Tells fan base that he/ she uses product y. Cycle continues

ehbrums1 wrote:It means nothing...For Example

Company pays producer x to use product y. Fans looking to get in to production see producer x uses product y. Fan buys produce y because producer x uses it. Other companies see fans using product y, and create tutorials and classes on how to use product y. Fan using product y becomes skilled and develops fan base. Fan base ask what software they use. Tells fan base that he/ she uses product y. Cycle continues

Product example using this cycle:

Ableton


(IMO)

wormcode wrote:

VirtualMark wrote:

wormcode wrote:

Kilo Graham wrote:From Nuendo to Live. Skipped right over reaper!

You can talk all you want about how reaper is equal to the others, but the others are still getting sales. That speaks volumes, whether you want it to or not.

Volumes to what? Live is a few years older than Reaper, and is the in thing right now, doesn't mean it's the best. I personally don't like it. That doesn't mean it sucks or it can't do anything, it's just interface and workflow preferences. In 2012 DAWs are all but equal otherwise. A couple of years ago Logic was the in thing, Cubase before that etc... A lot of people just choose software because they hear ___ uses it.

I wouldn't say they're all equal, mainly because some daw's do things drastically easier than others. For example, i can almost totally customize Cubase's key commands and set up multiple monitor/headphone outputs in control room. I can't do this in Ableton as far as i know.

Yeah that's what I meant by interface and workflow preferences, but other than that they are equal in terms of sound/ability/features. At least, I've not come across a feature in one DAW that I couldn't do in another, it's just a matter of doing it differently. I've seen Ableton Live shortcut keyboards before, but I'm not sure if it's quite like Cubase's or not. That's much the same reason I still prefer Sound Forge over any other editor, I can type out all the commands and edits via shortcuts very fast for smooth workflow with minimal clicking. It doesn't mean it's better or others can't do that, it's just what one becomes accustomed to and feels comfortable using.

classic example, toss most of the users here into renoise or a tracker and most of them would be lost

ehbrums1 wrote:It means nothing...For Example

Company pays producer x to use product y. Fans looking to get in to production see producer x uses product y. Fan buys produce y because producer x uses it. Other companies see fans using product y, and create tutorials and classes on how to use product y. Fan using product y becomes skilled and develops fan base. Fan base ask what software they use. Tells fan base that he/ she uses product y. Cycle continues

It means something. What you said also means something. Are you broken or do you really think there can only be one contributing factor to every phenomenon?

I think Ableton is a bit of special case because you can DJ with it. I feel that some people who come from a production background naturally have an urge to control the music they're playing more than simply changing the speed of the track or add the odd loop here and there. Look at all of the VIPs that get released of various tracks and you see how bored producers get with their own music. Now Ableton offers this population the ability to remix your own tracks, live, providing a different musical experience every show? Of course they're going to eat it up.

Its been mentioned ad nauseam that "every DAW is capable of doing what any other DAW can do." But as far as I know, Ableton is the only one which offers the aforementioned features.

I know people might think its the fad "in" thing, but it might be a lasting trend.

if you're going to call ableton djing then any software that allows live pitch adjustment and supports a 3 band eq is just as capable

Well I think we will see a huge influx of people using FL live now that is has expanded its performance capabilities in the recent updates.

As far as DJing software goes, I like Mixxx which is a good example of open source free software that works just as well as others and is getting better all the time.

yeah that looks pretty decent for something which is free.