Anybody famous using VSTis yet?

VST, AU, AAX, CLAP, etc. Plugin Virtual Instruments Discussion
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CypherOne wrote:Dick Van Dyke uses one ping only.
:uhuhuh: :uhuhuh: lets keep it clean here- thats penis van lesbian... :uhuhuh: :uhuhuh:

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donkey tugger wrote:
VitaminD wrote:Image
Polo. Putte.
What did they do to his eyes? :-o
Image

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Didn't I see KvR's DT way down on that list? Both BT and DT, talk about star quality on those plugs!

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Difference is DT has more talent! BT sure can't sing like the Donkster.

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Nor can he slander the farming class so mercilessly.

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Beardedone wrote:Difference is DT has more talent! BT sure can't sing like the Donkster.
True. And DT is even prettier.
.

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donkey tugger wrote:http://www.gmediamusic.com/users.html

A few there, and who is that devilishly handsome fat chap 4th from bottom? :love:
Peter O'Toole, after rehab? :?

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funkstörung - smartelectronix...

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Seriously, Correct me if I remember this wrong, Kraftwerk has gone totally soft nowadays, and Jean-Michel Jarre Has even given a speciel thanks to NI in one of his albums, I would give JMJ a special thanks oneday if he could eat the breakfast he was eating in the eighties, that must have been something speciel, maybe he only gets toast now. :D

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Joni Mitchell uses elogoxa's "Devil Inside" these days, and nothing else.

Meffy

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aMUSEd wrote:Brain Eno is a big fan of FM7.
I'd love to know the source of that. In every single interview of his that ever seen, and that's quite a few, he goes to extraordinary lengths when asked to explain why computers are useless for making music.

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Oh, I just remembered: Juno Reactor also gives credit to NI on thier album "Shango."

Btw, Shango is a masterpiece.

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HanafiH wrote:
aMUSEd wrote:Brain Eno is a big fan of FM7.
I'd love to know the source of that. In every single interview of his that ever seen, and that's quite a few, he goes to extraordinary lengths when asked to explain why computers are useless for making music.
googling 'Brian Eno FM7' isn't rocket science:
FutureMusic interview wrote:FM: Talking of which, what soft synths do you use? [Not surprisingly, the answer is...]

BE: I'm very much a fan of [Native Instruments] FM7. That's the only one that I've used extensively. I also have that one called Plex which I don't find very interesting but FM7 is really, really... for someone who's used to FM and knows thee principles of FM that is really a dream that thing.

FM: So come on, how does the FM7 really compare to DX7?

BE: In all respects but one it is superior. The one respect that I think is not as good is for some reason it doesn't have as good attacks as the DX7. At least that's what I think: it seems to be slower on the attack. In every other way it's a great improvement I think.

FM: So have you got into it as much as you did the original DX7?

BE: As I say it's an investment I calculate before I start. Actually with FM7 I have got into for some depth because I became interested in bells, the acoustic structure of bells. I want to model some of them electronically and I wanted a synthesiser that would enable me to model those very complicated interacting harmonic structures and FM7 is really that, so I learnt that in the course of doing this thing with bells.

FM: So what's the main appeal with software like this?

BE: What's really fascinating to me is this: the first synthesiser I ever had was the EMS where you can route everything into everything. You didn't have this chain that all other synths have had since, you know, [adopts bored voice] oscillators, filter, envelope shaper... you know, always in that line. With the EMS you could send things in any kind of circle so you could send the output of the filter back in as an oscillator input and a lot of the noises I got from those things came from doing that kind of thing.

The thing that fascinated me about the FM7 software was that it had some of that feeling, the feeling that you weren't stuck to one route by which things had to follow.

FM: Do you think that soft synths emulate hardware ones too much then?

BE: I think there is a lot of work to be done with the grammar of the ergonomics of these things. Some of the controls are very, very crude I think. For instance on Logic the stupid rotary controls they have which work in a completely counter-intuitive. You know you push here and it goes down. They're very weird I think and you think 'surely wouldn't it make sense just to have a fader.' If you're trying to pan left to right just a line would be fine! They don't need to [make it so much like the hardware]. The hardware is only like that because it's physical and has to be like that. It's not because it's better...
http://www26.brinkster.com/brianeno/ind ... ~frameHOME
My webcomic that has absolutely nothing to do with music, plugins, technology or football: http://friedcheeseballs.com/start

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HanafiH quoth
I'd love to know the source of that. In every single interview of his that ever seen, and that's quite a few, he goes to extraordinary lengths when asked to explain why computers are useless for making music.


Yeah, and in every interview Ive seen he contradicts half of what he's spent years saying as though its quite profound to do so... :roll:

Doesnt surprise me he'd say one thing and do another wrt softsynths.
An idiot on Set Theory:
"In some cases there is an object called red that contains everything that is red. In much the same way a pot is a plate."

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the man drank his own piss - what more need be said?

:hihi:
My webcomic that has absolutely nothing to do with music, plugins, technology or football: http://friedcheeseballs.com/start

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