Someone on Gearspace posted their first couple of hours experience with it and said that there are artifacts after editing. Someone on the Recording and Mixing forum here said that you can just download all of its loops and then cancel the subscription, and I'm inclined to think that you can't do that and continue editing. The tech is so intertwined with the Tonalics program that to do proper editing you have to have Tonalics. The other thing the guy on Gearspace said is that there is no DI option. Not sure about that so I got in for a dollar and going to check it out over the weekend.
This is a quote from Tonalic: To search for and download the Tonalics, you need a good Internet connection. Once the required data is on your hard disk, however, you can just as easily work offline, but your access thereafter will be limited to the Tonalics you have already downloaded. Then why not download the whole library? For one thing, because it's far too big (you couldn't download all Netflix or Spotify either, for that matter), but also because we are constantly improving and expanding the content. Online access ensures that users have access at all times to the latest and best versions of everything currently available.
Hi Rob! If I had a white jacket, bowtie and martini glass, I would have used them to listen to this! It's amazing how some songs just take one to a place, and your song did that for me. Sax is good. I followed the rhymes in your lyrics closely - Knee Wobbler and I have an assignment dealing with rhyming - so knowing your attention to prosody, I was interested to see what you did in terms of both phrasing and rhyming. Very good! Andrew
I do agree with you as well on them points Charles. As a long time user of BIAB they have had quite a bit of lead way in this field. I have no doubt Celemony is a very capable of producing top notch software as I have also been a user of Melodyne for many years. There are not very many DAWS left out there that has not adapted ARA into their program. I am still waiting for my essential license to try this limited version but I am in no hurry at this point since there is plenty still to play with since my latest software upgrades with BIAB and other stuff.
Hi B.D.! A very thought-provoking song - and I was somewhat distracted by the issues raised in your lyric that I sometimes forgot to focus on the music - and maybe that's the point? Musically, I liked your use of dynamics and arrangement change throughout the song to provide contrast - some passages in anger/frustration - others in reflection and resignation. I detected the I - V - vi - IV progression in parts but didn't follow through to see where else it went - that progression still sounds fresh. What I don't understand - irrespective of the context - is why people can be happy to support (or at least comply with or tolerate) some of this stuff - and apparently there's a whole psychology to that. Good song! Andrew
Hot little number Pete, Really liked the style and guitar choices. Perhaps as you say a little hot, especially at the top of the chorus, but if still works. You do have a good solid singing voice, really like it. Thank you, I'm gonna redo the vocals as it's bugging me that they are too hot lol. I'm sure I'm hearing it more as I know it's there!! Your comment is much appreciated . Pete Great job, kind regards.
Dan, Thanks for making this video! Cool that it works very similar to Toontrack, NI, Kontakt with BIAB. You can try dragging Chord track to Tonalic right from header of Chord Track in mixer to the VST, skipping desktop. It might work. If they introduce normal perpetual license(s) I will definitely consider. Over last decade, I collected all NI Session guitars and bases, plus you lured me into toontrack world too. I am pretty much set for a long long time as far as guitars, bases, pianos and drums go, especially including annual PGM offerings however... When/if Tonalic introduce winds/brass I will most likely sign up for a month or two to get stems for some of my tunes.
Hi Dan! Very interesting! I've been following the other threads with interest, so thank you for demo-ing this. Maybe not only competitors but companions? Andrew
An impressive demo Dan, you made it look super easy
Believe me it was simple! tonalic works just like EZKeys and Scaler with the block drag and drop. I have years of experience with those apps. A;so all I showed was that it works! There are lots of Tonalic demos to really push the features. But I had no crashes with BIAB. I would love to see someone do a quality arrangement demo - I didn't take the time since this was just feasiblity to me. I am anxious to take this over to my DAW and put some of my music into it. that will be tomorrow.
... When 90% of BIAB’s functionality is ignored or misunderstood, it becomes easy to misinterpret what competing software is doing, or to mistake long-standing BIAB features for innovations elsewhere. ...
This sounds like a good idea for a new thread ... 'I use [part of] 90% of BIAB that others don't - here's what I know ...' Andrew
Please excuse the overall video quality and musical arrangement of this quick and dirty demo. I wanted to be the first. I am happy to annouce how well these work together! Who would have guessed? Take a look.
When I was a consultant, we often partnered with other companies who could improve our chances of getting new work. Some of these partners were also competitors for other work we did, which created an interesting and often uncomfortable tension. We referred to these companies as "frenemies". (In case this doesn't convey across language translators, it's the concept of being both a "friend" and an "enemy" or competitor.) Tonalic is to my way of thinking a frenemy of BiaB. Anyway... Since BiaB doesn't have a trial or demo mode, there are at least SOME users who will trial Tonalic and settle for it without ever appreciating the amazing, so-much-better solution that is BiaB. To assume that NEW users will purchase BiaB and then add a pricey plugin like Tonalic is a stretch. Am 100% sure someone will say I'm wrong... P.S., User who get BiaB for free, and you know who you are, don't count in my statement about NEW users.
I think you may get the award for the longest song introduction. I don't mind the synth vocals. I think it would be to cumbersome for me to put them together. It's easier for me to make 10+ vocal takes until I get it halfway right. Beautiful melody and arrangement. Yes, there is some 70s flavor but the sound is a style of its own.
I have a C-note for the bottle. Quite a rollicking song! You keep outdoing yourself. Love that Dave guitar solo (oooh, and a mini bass solo). Cool harmony in the ending.
Hi Ron Resolution challenge completed. Really nice choice of style and the key change at the bridge(?) worked really well. Good vocals, you have a smooth delivery, you never seem to have blips or rawness like I do. Another good'un, Kind regards
Why, THANK YOU, Lee! Yes, OF COURSE I have blips and rawness in my vocal takes. But I edit them out, or try to. Have posted many times that *I can't sing*. But I do know how to shape a vocal performance so that it's not distracting for the listener. If I have a talent, that may be the one. Glad you enjoyed the tune!
Originally Posted by rayc
DC, I'm listening with headphone so the hard panning seems VERY hard panned. For cans I suspect bringing the hard ones in to about 70 or 80 would sit better other than for psych. The kick clicks a little too much for my ears - I know that tinnitus scoops my hearing in a way that accentuates the kick click. I enjoyed the vocals - the harmonies are cool. fabulous arrangement/dynamics and a fab song overall.
THANKS, rayc! Understand about the hard panning. FWIW, there are six guitars, and I organized them in three pairs. The first two guitars are panned 100% L&R. The second two are panned 60%, and the last two are panned 40%. The first pair are more prominent in the mix, and are active over about 2/3 of the song. I could probably pull them all in a bit. But...100% of my songs use hard panned instruments, usually guitars. It's just my thing, for better or worse, and I like it myself, which is why I keep at it. Still, there may be some rebalancing in order, and I'll listen for this again. Am not hearing the kick clicks but I'll look at those as well. I have tinnitus as well. Crickets. All the time. Glad you enjoyed the vocals (blush) and the song overall. It's a trifle, but what's life without trifles?
Hi Hans A really good choice of style, love the violin. Yes it’s different, but it works and works well. I have a penchant for upbeat Irish/folk music, so this really appeals to me. Great song, kind regards.
Another beautiful piece by you Carl, I wish I could get to within a gnats whisker of your finger picking, but that ain’t gonna happen this time around. Excellent playing Carl, kind regards.
Nice work with the instrumentation, especially that piano. Your lyrics are really good, especially the chorus. Speaking of the chorus, it has a theatrical sound to it. The wind instrument (dizi flute?) sounded cool.
Hot little number Pete, Really liked the style and guitar choices. Perhaps as you say a little hot, especially at the top of the chorus, but if still works. You do have a good solid singing voice, really like it. Great job, kind regards.
Rob, super write and uber cool laid back performances. Nice traditional backing track, and the vocalist fills in nicely. That sax solo turned out great, but I'd still love to hear your always-on-point harp. Heck, I'd love to hear you sing this, too. But that's just me being selfish. Love the song! There's a lurch in the backing track at 0:16 that may be fixable, but I'm not sure what it is. Most noticeably, the strings drop in volume rapidly. Didn't detract from my enjoyment of your awesome song though.
<< " This is not true at all. The program is not dependent on ARA at all. Just like Melodyne was not dependent on ARA. Pro Tool Users could use Melodyne before Pro Tools ever had ARA. If you watch this video you will see that it can be used in any DAW and what ARA is doing in Studio One because of the ARA on the chord track which is in Studio One. Tonalic First Steps – Getting Started with Tonalics Apple Logic Pro is getting it's chord track updated this month. What this has to do with is the chord track." >> Thanks for the clarification, Brian. I agree with you on the narrow technical point, and I'll correct my phrasing. Tonalic is not technically dependent on ARA in the sense that it will not run without it, just as Melodyne could function prior to ARA adoption in Pro Tools. That’s fair. Where I still stand by my point is where Tonalic’s primary value proposition currently resides. In the demo video in the thread, 'New from Celemony', I'm referencing around the 6:30 mark, the “intelligent humanization,” bar-to-bar continuity, voice leading, and chord-aware performance shaping were presented as a major feature and capability meaningfully to Tonalic. Yesterday’s comment that “this applies to the ARA part”, currently supported only in Studio One and Fender Studio Pro, strongly suggests that those features are most fully realized when Tonalic can interact directly with the DAW’s chord track via ARA as you noted today. So while Tonalic can be used in any DAW, this headline functionality is not yet universally accessible, because many users cannot currently access the chord-aware, continuously adaptive behavior that’s being highlighted in the marketing and demonstrations. That’s all I meant by saying the release promises more potential than it presently delivers universally. It’s not a criticism of the technology itself, it’s my observation about availability of one of its most emphasized features across the broader DAW software today. As more DAWs adopt the necessary ARA/chord-track integration, that limitation will likely diminish. At this point, though, it remains a practical constraint for a significant portion of users. However, the humanization feature has long been an integral part of the BIAB algorithm.
Very cool, B.D. Such a poetic take on a year that's violently shattered so many norms. I'm an optimist, and believe in my heart that we'll come out of all of this stronger. But at what cost? Time will tell. The sparce production is quite gorgeous. Love the pathos of your vocalist and the overall vocal performance. I might be hearing a bit more sibilance than usual, but that adds to the intimacy to my ears. Certainly doesn't detract from the beauty of the song in the least. Didn't watch the video, but REALLY love your song. Songs about something important are...something.
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I don't mind the synth vocals. I think it would be to cumbersome for me to put them together. It's easier for me to make 10+ vocal takes until I get it halfway right. Beautiful melody and arrangement. Yes, there is some 70s flavor but the sound is a style of its own.
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