Fender Studio Pro 8 Released

[electro]

Still no demo, weak...

Won’t see that until v8.1

Apparently coming very soon

VP

What is the state of the current build and also the Audio to MIDI? S1 didn't become relevant until 7.0 with the introduction of Ableton Link

[noremorze]

There's cleverness in that?

Yeah, in leveraging one engine for all your tracks. One instance of Kontakt 8 with Ferrum Free loaded uses 2-3% of my available CPU power. 16 instances goes up to around 10% and 64 instances is just nudging 20%. If I'd loaded different instruments, the CPU would have maxxed out well before I got to 64 tracks.

It's a thing I miss about Orion - if an instrument wasn't actually generating audio, it went to sleep and used no CPU. It would be the perfect thing for a huge template like JXL's. Studio One got "plugin nap" in v6 but it only applies to effects.

Yes, the idea is to have everything you might want to use out of all of your millions of samples libraries and synth presets, in one template, pre-routed, ready for action.

You get a lot of last minute jobs, do you? Because what I see there is something that means nothing will ever be quick and easy, even the simplest thing becomes a massive, unwieldy process. It might work for a real, working composer like JXL, who made his millions decades ago and doesn't need to take every little job he's offered, but I don't see much value in it for anyone who has time to post on music forums.

Using things like Metagrid enables you to navigate these huge templates with ease, showing and hiding whatever you want to see and use.

Off the top of my head I can think of much better, more flexible ways to be organised. The most obvious is to organise your plugins and presets so that you can find and load things more quickly. I can't recall if Cubase has it or not, but Studio One allows you to sort in several different ways that would facilitate this without the burden of having to load a ginormous template every time.

To be fair at the time of this recording, he had a computer room with 6 servers running VEPro so everything is available instantly. Ya, sure overkill, but he's a top Hollywood film composer and most of them operate the same way, Zimmer, Morris etc so they must know what they are doing...

Yeah but you don't have a server room so why the f**k would you attempt to work the same way? You also need to realise that having the big impressive studio and server room will get you work just because it impresses clueless idiots with money who don't necessarily have the first clue about any of it. You wouldn't believe how many Flames we sold at Discreet Logic purely because having a $250,000 Flame in your post production facility would attract customers (yes, like moths to a Flame), even though 9 times out of 10 they could have got the job done on a $5,000 PC workstation for literally one-tenth of the price. That's kind of how the industry works - impressing idiots who have money to burn with your big, fancy set-up.

This shows you don’t understand how modern scoring works. 99% of working composers, including big names, do NOT have access to an orchestra for every project. Budgets, schedules, revisions, mockups, and director approvals all depend on large templates and separated articulations. Even when a live orchestra is hired, the mockup still needs to sound finished because that’s what gets approved. Templates has nothing to with ego, they are workflow.

And this shows that you have no f**king idea which rung of the ladder you're standing on and what woudl work a whole lot better for someone in that position.

You're the definition of the Dunning-Kruger effect. I've literally been tutored by working composers, and finished several courses taught by working composers, that includes every little detail of what the process is from start to finish. Perhabs you should join one of our Thinkspace discords so you can tell all the composers there what clueless idiots they are, since you're the true expert.

[jens]

I've literally been tutored by working composers, and finished several courses taught by working composers, that includes every little detail of what the process is from finish to start.

You might want to reread the short bit regarding "dry humping" I wrote earlier, then read Bones' post you quoted a tad more thorough, and finally your reply to it...

[noremorze]

Correcting a false claim that I don't know what I'm talking about isn't "dry humping". I've literally explained what the process is for composers, that is information that comes directly from working composers themselves and what I have been taught. Even YT is full of working composers who literally explain what the whole process is in detail, why don't you ask them if anything what I have said was wrong. Not a single working film or game composer would disagree with what I described. This isn’t my opinion, it’s standard industry workflow and practice.

Here's Anne-Kathrin Dern confirming what I said about the quality of mockups and the access to orchestras. You will literally get rejected for jobs if your mockups don't sound good enough. She goes even further to say that even when people do have access to an orchestra, not everything is recorded and that mockups will be part of the final product.

In this video she explains why composers have templates, once again confirming what I said.
In a video from the same series she explains why she uses seperate articulations. Literally everything that I said in my comments is confirmed by her.

Here's Guy Michelmore explaining the importance of seperate articulations


Here's Guy explaining more about templates. The first part of the video is about his old template, which uses 1 track per articulation. He literally says at the beginning that most film composers still work that way. Then he talks about a more modern workflow, which can be used on a single computer and this is what many people use as well these days. It confirms what I said that about working composers splitting their articulations between legato, longs and shorts. This is also what we're taught in the courses. You two do not even know what the reasons are for why we do that, without having to check the internet.


Here's Christian talking about the BBCSO template, and why we use it as composers whether we're professionals or students.


Here's Paul Thomson and Jake Jackson talking about the mixing process, they explain why articulations are separated, as I have said in my first comment.


Here's Danny Elfman talking about the process of making his mockups, and the interactions with the director during that stage.


Here's Paul Thomson going into detail about the whole process of writing for media.


Here's Tom talking about revisions (or conforms as he names it)


Funny how every single one of them works exactly like I said they would. It's almost like I did know what I was talking about.

I could list dozens more from other composers, while you two can't even post anything from a working composer that would support anything you have said so far.

Time to put you both on ignore, your arrogance is almost as big as your ignorance.

[Vocalpoint Studios]

What is the state of the current build and also the Audio to MIDI? S1 didn't become relevant until 7.0 with the introduction of Ableton Link

Current build - v8.0.3 is about as rock solid as I have ever seen. So good in fact that v7.2.3 finally just got removed permanently this weekend.

Audio to MIDI? I know they added this recently - but I do not use it - so cannot really comment

And Ableton Link? - no experience or interest in that either for what I do.

But I will have to respectfully disagree on S1v7/SPv8 relevancy (and/or strengths). Those have been front and center here for years. No thanks to Ableton either....

VP

[noremorze]

What is the state of the current build and also the Audio to MIDI? S1 didn't become relevant until 7.0 with the introduction of Ableton Link

Current build - v8.0.3 is about as rock solid as I have ever seen. So good in fact that v7.2.3 finally just got removed permanently this weekend.

Audio to MIDI? I know they added this recently - but I do not use it - so cannot really comment

And Ableton Link? - no experience or interest in that either for what I do.

But I will have to respectfully disagree on S1v7/SPv8 relevancy (and/or strengths). Those have been front and center here for years. No thanks to Ableton either....

VP

It's the least stable version for me unfortunately. Never experienced this many crashes. There are a few VSTi's that I have that will crash the DAW more often than not upon loading the first instance. But, I'm not tied to deadlines, so it personally doesn't bother me too much.

In regards to his question about Audio to MIDI, it's a bit hit and miss. I've read many complaints about extracting the drums not working great, while mine came out fine on complex drums. Then recently did it on a basic drum file, and almost everything was incorrect. I don't think this is a FSP8 only problem, it's just how these things work. People should expect to clean it up a bit.

I also don't agree with his statement about S1 not being relevant before version 7. It's been a powerhouse for quite some time. I think version 5 really closed the gap with many other DAWs.

Looking forward to 8.1. Was expecting it last week, but that was more of a wish. Should be soon though I reckon, probably this week?

[Sonik31]

What is the state of the current build and also the Audio to MIDI? S1 didn't become relevant until 7.0 with the introduction of Ableton Link

Current build - v8.0.3 is about as rock solid as I have ever seen. So good in fact that v7.2.3 finally just got removed permanently this weekend.

Audio to MIDI? I know they added this recently - but I do not use it - so cannot really comment

And Ableton Link? - no experience or interest in that either for what I do.

But I will have to respectfully disagree on S1v7/SPv8 relevancy (and/or strengths). Those have been front and center here for years. No thanks to Ableton either....

VP

V8.03 not so good here. Some crashes and ARA plugins aren't working good. Using Melodyne in ARA, the fades doesn't work... This is a very old bug that appear on the V7.0

[Vocalpoint Studios]

V8.03 not so good here. Some crashes and ARA plugins aren't working good. Using Melodyne in ARA, the fades doesn't work... This is a very old bug that appear on the V7.0

I use a fair bit of Melodyne here - so far nothing to speak of. But I have seen some users getting some hassles from it now and then.

VP

[Vocalpoint Studios]

Looking forward to 8.1. Was expecting it last week, but that was more of a wish. Should be soon though I reckon, probably this week?

I have always thought May is great month for us...

VP

[noremorze]

Seems Fender just pissed off the guitar world, they just did a Gibson move that did major damage to the brand. While Gibson didn't have financial backlash, Fender is not in the same position. It directly threatens the success of FSP.

[Sonik31]

V8.03 not so good here. Some crashes and ARA plugins aren't working good. Using Melodyne in ARA, the fades doesn't work... This is a very old bug that appear on the V7.0

I use a fair bit of Melodyne here - so far nothing to speak of. But I have seen some users getting some hassles from it now and then.

VP

Try Melodyne using fades and you'll 'see' the clicks and cuts

[Vocalpoint Studios]

Seems Fender just pissed off the guitar world, they just did a Gibson move that did major damage to the brand.

Have no idea what this means. Or “who” (in the guiatar world) is suddenly PO’d.

I am heavily in the guitar world , have a rack of awesome Fenders and use Studio Pro daily.

If anything - this should be a huge plus for the “brand”.

VP

[ksandvik]

The Gibson fiasco was to purchase OpCode which was IMHO the best MIDI DAW at that time and running it to the ground by not funding it. We need to have a time perspective if this happens with Fender / Studio One.

[jens]

Seems Fender just pissed off the guitar world, they just did a Gibson move that did major damage to the brand.

Have no idea what this means.

Perhaps that stratbody copyright-lawsuit is meant, which was/is a true dickmove (if there ever was one) and makes it rather unlikely I'll purchase anything Fender anytime soon - but that's just me and I have no idea how others feel about it.

[noremorze]

doing this to your brand will always have repercussions, usually the software departments are the first victims. These lawsuits smell like strategic uncertainty, which usually is never a good sign. Nothing will change in the short term, it's the long term that people should worry about. Fender already wasn't a healthy company, it had a b- credit rating, while S&P calls their liquidity "less than adequate".

This lawsuit that they won has the potential to be devastating to many retail sellers and is a direct attack on the community itself. People generally don't want to be associated to companies that behave like bullies. But from what I understand they only send a cease and desist letter to the retailers, no new lawsuits as of now. Time will tell.