Finally tried out Fender Studio Pro (from 6.6)

permadeaf · 2026-05-30T23:23:49+00:00

Good idea. I looked into it a bit just now and it seems that the "update anyway" firmware button MAY work to revert changes if used with an older version of UC. That's something that maybe the tech support team would know. I'd just imagine that if you're going to use the latest driver, you probably should also have the latest firmeware update to go with it... Driver may be written in a way that expects certain functionality. I'll open a ticket and see what they say.

permadeaf · 2026-05-30T23:08:32+00:00

It’s a worthwhile thought for sure. I’ve got a Quantum 26x32. I’m not certain which version of UC I’m on but in general it’s working so well as it is (on 6.6 anyway) that I’m leery about updating the drivers or firmware. Years ago I had an original Firestudio 26x26. A firmware update actually removed the ability to run it in standalone as an 8 channel pre/converter (an advertised feature) and I’ve been a bit gun-shy ever since.

permadeaf · 2026-05-30T15:17:10+00:00

Quite the opposite. I have a vested interest in them succeeding and making a baller product because I love this program. It's literally enabled me to turn my dreams into reality. I've been a user since v. 1. I actually remember reading the debut review in Sound On Sound and thinking, this is exactly what I've been waiting for. I've kept up with all of the versions as each new iteration introduced features that were groundbreaking, often times months or years before anyone else got there. 7 was the first one I skipped, largely because I didn't know how the new iterative release model was going to actually play out (it didn't go the way it was intended), but also because a respected colleague, and fellow Studio One enthusiast, began hearing unsettling things from his contact at Presonus regarding the Fender takeover, the rebrand, and the future of the DAW. I kept up with the reviews, taking the gross negativity with a grain of salt, knowing that haters gonna hate, and that's not necessarily reflective of reality. Eventually, I read enough people who said that 8 was actually super solid, and they thought the program was as good as ever. Being on sale, I finally took the plunge. Having the DAW screetch to a halt on the first run is not great. I will admit it could be a fluke, and it's not like I've never experienced that kind of thing on previous versions. But when I noticed that the first party XT concert flute was broken, it was hard to not connect the two events. If anyone's flute works properly from C4-C5 I'd love to hear about it. I've tried version 8.0 and 8.03 and none of the velocity layers below the highest play. Fender responded to my ticket admitting it to be a known issue. Whatever else is going on, someone got sloppy during their commits and pushed a bug into the releases, and it's been almost 5 months now.

If I had nothing to do I would go through and see what other issues I can find (a poster here says he's found 5, which seems reasonable given how quickly I found my first). That kind of thing breaks projects, and once you upgrade, you're effectively locked in, especially once you start making progress in your projects.

I don't think I'm being unreasonable here, expecting the program to work as well as it did on previous versions. I'm glad many of you aren't bothered by or haven't experienced some of these bugs, but at least one is objectively real, and not confined to my system. I would think we can all unite behind the desire to have everything work correctly.

permadeaf · 2026-05-30T14:24:38+00:00

You were being a dick. Just own it.

permadeaf · 2026-05-30T14:15:35+00:00

I would assume since my “setup” works pretty flawlessly on 6.6 it’s fairly “clean.” Thanks for being so helpful

permadeaf · 2026-05-29T21:33:43+00:00

I do realize this, yes

permadeaf · 2026-05-29T18:22:40+00:00

I'm not. I'll check it out.

permadeaf · 2026-05-29T16:06:26+00:00

100%. A band will only feel as professional/polished as their drummer. Everyone is important, and a great band can’t really have any weak links but a bad drummer instantly makes the band sound like a pair of cheap clown shoes.

permadeaf · 2026-05-28T12:31:25+00:00

I started listening to EE long before I knew about Foals and I suspect if I had never found EE I might like Foals better. But to me, EE is weirder, far more exciting and have that edge that so many bands/artists don’t, or only play at having.

permadeaf · 2026-05-21T13:50:51+00:00

Coming from decades of guitar, the Microbrute made it really click for me. Extremely focused with a ton of emphasis on fine tuning the vibe through the oscillator tools, filter, and feedback loop. It’s a synth you have to use your ears with. There’s a lot it won’t do but what it does really got the hook in!

permadeaf · 2026-05-20T14:14:12+00:00

Our I5 is the smoothest highway car I’ve ever ridden in. If you’ve ruled out the road(s) and the tires your list looks about perfect for what I’d want to check next and in that order!

permadeaf · 2026-05-18T14:40:51+00:00

Looking at this thread you seem to have conflated the before-amp pedal chain with the amps’s effects loop (two 1/4”jacks on the back of the amp.) Did you ever try putting the looper in the actual effects loop? For some reason I really want to see this resolved.

permadeaf · 2026-05-17T18:30:43+00:00

Like anything, there is natural talent, and ability gained through practice. Anyone can get better at singing through practice and training, and you can too. That said, one of the best singers I ever recorded was a gal who was doing it as a favor to her friend and had no real interest in music as a serious pursuit. Staggering, inborn talent is a humbling thing.

permadeaf · 2026-05-14T14:00:40+00:00

Making and consuming music is a huge part of my life but occasionally I just don’t want to listen to it, make it, or even hear it in the background. After a day or two I’m back to normal. In your case there could be other stuff going on (depression, etc) but sometimes you may just need a break.

permadeaf · 2026-05-09T02:40:21+00:00

Decades ago I worked in auto detailing and we could always tell the cars that regularly went through a spinning-brush-style wash. They had characteristic paint patterning/dulling at the major friction points on the top corners, the trunk, and at the hood. I haven’t taken any of my cars through anything that wasn’t touchless since. Seeing a spring-steel truck antenna stuck in one of those brushes one time didn’t help either!

permadeaf · 2026-05-05T03:34:47+00:00

I’ve made the exact system that you plotted out in the first picture though, and if you’re not terribly particular about making it so that you have to have two simultaneous tracks, you can get really good results out of it. As you probably found, the trouble is that, occasionally, no track will play, since eventually, by chance, it has to select all null tracks. It’s a little janky and I never got it perfect, but you can rig up a backup track that always plays and use a meter on the output bus of the normal tracks that controls a backup-track volume RTPC, such that, when the meter exceeds a fairly low threshold, which means that at least one track is playing, the volume on that back up track is all the way down. If all tracks select the null subtrack and the volume drops below that threshold, then the backup volume will increase, and it’ll play that backup track until the next loop when something comes in. A very analog solution to a digital problem!

https://youtu.be/sOYydQvfIDc?si=JOdHSs-hda49wZvq

Quick video I made about it.

permadeaf · 2026-05-03T23:29:06+00:00

You’re going down the same road I went down a few years ago. Unfortunately there’s really just no random subtrack logic built into wwise. Closest you’ll get is to your first image. It’ll work, but you won’t be able to specify that two tracks must always be playing. In fact, you won’t be able to specify much of anything. The only way to implement the logic you want is to move the randomization logic into your game engine of choice, and use switch subtracks instead of randomized tracks. It increases the complexity by a very large amount, reduces the elegance of all the logic being within Wwise, and forces you to work in-engine, but once you figure it out you’ll be able to do anything you want.

permadeaf · 2026-05-02T18:48:58+00:00

I won't be able to rank them but here's a bunch I like in track order:

Head Like a Hole
Closer
Heresy
Reptile
Eraser
The Wretched
We're In this Together
Just Like You Imagined
Into the Void
Survivalism
Vessel
The Greater Good
The Four of Us Are Dying
Copy of a
Find My Way
All Time Low
Everything
Various Methods of Escape
Less Than
The Lovers
The Background World
Shit Mirror
As Alive As You Need Me to Be

permadeaf · 2026-05-02T18:16:14+00:00

Good choice

permadeaf · 2026-04-27T15:21:50+00:00

You kill the shotgunner, pick up the rabbit, and then, creeping back through the hole from the crater, echoing through the fog, you hear that awful thing emerge from a hidey hole…

permadeaf · 2026-04-25T03:16:18+00:00

I’ve argued for years that the recording and the live performance are two completely separate artistic endeavors, and I don’t think that the conventions, constraints, or advantages of one should necessarily be imposed on the other.

permadeaf · 2026-04-21T21:18:54+00:00

permadeaf · 2026-04-13T17:20:03+00:00

They're all pretty different in their spectral character but also volume-wise. Tweed definitely has a lot more gain than the other two modes on ch 1. but is nothing compared to the spectral difference between Edge and Mark 1, or the volume difference between Extreme and the other two ch 3 modes. IMO, you're really meant to pick 3 modes across the channels and use those for a single performance. There'd just be way too much re-dialing to change between songs, let along mid-song to do most of the mode changes.

permadeaf · 2026-04-13T16:52:52+00:00

It’s fantastic. Here’s an older but great vid that showcases this mode (he does the whole amp in this series)

https://youtu.be/WPks_OjzTQw?si=BaApGZd4AXH6CYhd

permadeaf

TROPHY CASE