mettelus

Starise
 
Standing feature requests are something I have heard about. I see that as the kind of thing that can't be avoided. There will always be more requests than there are tech to fix them. Can you be more specific? Apparently the things that aren't working I don't use much, because I haven't run into much of that at all. If a user NEEDS a certain thing to work and it doesn't work. If they can't get help, then they have no choice but to go somewhere else. I'm sure it probably happens at Presonus too. 

This is a can of worms of sorts, since each person has different wants, needs, and workflows. For folks who use a DAW as a glorified tape machine (straightforward production), it is significantly different than those using it for post-production, or those using it as a composition/arrangement tool.
 
The two items which come to mind most for me (recently) are:
1. The arrange/scratch pad concept (very longstanding feature request (FR), but the timing of that FR may very well be linked to SOP introduction), where a composer can willy-nilly grab, drag, drop song sections around without concern for their internal content or a project exploding. Ripple Editting in SONAR has finally taken a leap to making this happen, but even the arranger track is a massive time saver for composition.
 
2. The plethora of drop out threads I see here recently. Drop outs is a hazy one, since drivers, setup, and understanding how the computer is thinking and processes is a large part. However, being able to track into a "damn near done" mix often requires (anyone doing this cannot dodge these bullets forever...) bypassing global FX, resetting audio interface buffers, and/or bouncing everything down and recording into a new project (can also freeze/archive, but that can be messy too). Drilling into preferences, and knowing the above is a massive hassle for someone who just a cool idea, inserted a track, and is on the verge of arming/recording... then reality strikes. This is a workflow issue that would affect almost everyone, and although the feedback for this was "too hard to do" from a couple years back, SOP 3.5 just did it. One click, and you can go from massive post-production mix to "tracking mode."
 
These also distract from the OPs main point, which was more the upgrade/renewal pricing. The point I was more trying to make was what SONAR users have made as feature requests, versus what has transpired. I actually spent quite a bit of time reviewing that feature request forum by vote count when my initial membership expired. When the lifetime updates came around, that forum had been moved, but some of the most voted and useful features were still on it. [Although this can get into many heated discussions as to "why," the issue is more that it has happened.]
 
Where that does lead back to the OPs discussion is the associated value, i.e. "what is one getting for the money." Again, many threads regarding this, and it will always boil down to value to the customer.
 
 

 I've just started getting into arranging, but this is a big one for me because it can save so much time if it can be done without a lot of trouble. I've never used Sonar as just a glorified tape machine. I use a lot of automation and soft synths. I have come across a few small bugs. Trying to link tracks and automate them all at once can sometimes lock Platinum up. That bug has been reported.It only happens on loaded mixes while other things are working hard. 
Unfortunately , I looked at a few videos on ripple editing and tried it a bit, I had already started using the arranger in SO and liked it. I didn't immediately pick up all the concepts of how ripple editing works. I start to get impatient when I have a mix waiting to be completed. I tend to go toward the SO arranger because I already know it now.I think Ripple editing will be ok once I get into it. It will be tough to compete with the arranger in SO. I'll come back to this after I have used ripple editing. No matter what it is it should be easy for dummies to use lol. Lots of people buying the software for the first time.
 
On the dropouts in Platinum- I would like to see a tighter integration with hardware in Platinum like you have in SO. This is why I think you see less drop outs in SO.The user buys a Presonus interface and SO sees it immediately and can tune it. I don't believe Platinum is any worse with regard to drop outs. Much of those kinds of problems seem to be driver, interface, buffer and even computer problems. If Cake plans to stay under Gibson with Tascam. It would only make sense to offer tightly integrated hardware. This avoids a lot of problems.
 
Typically most of the more common interfaces are working great from all outward indications. Focusrite, RME, Motu
my older Presonus works great in Platinum. Mettilus, how big are your projects? I'm  wondering if in some cases, the preferences aren't really set correctly. I have had to disable FX on some larger projects temporarily. I suspect this was an issue involving a plug in. I don't  see what you refer to as a "plethora" of lock ups. You kight be referring to the X3 days? there were a few more bugs then. Things are much smoother now. 

mettelus
2. The plethora of drop out threads I see here recently. Drop outs is a hazy one, since drivers, setup, and understanding how the computer is thinking and processes is a large part. However, being able to track into a "damn near done" mix often requires (anyone doing this cannot dodge these bullets forever...) bypassing global FX, resetting audio interface buffers, and/or bouncing everything down and recording into a new project (can also freeze/archive, but that can be messy too). Drilling into preferences, and knowing the above is a massive hassle for someone who just a cool idea, inserted a track, and is on the verge of arming/recording... then reality strikes. This is a workflow issue that would affect almost everyone, and although the feedback for this was "too hard to do" from a couple years back, SOP 3.5 just did it. One click, and you can go from massive post-production mix to "tracking mode."

 
Well...I don't get dropouts, but when I did a year or so ago, I followed the advice in the Toast notification and that solved it. No matter how much you go into Preferences, that can take you only so far when the problem is in the computer setup. This also happens on a Mac.
 
Search on "Presonus Studio One Dropouts" and you'll have plenty of reading material. You'll also have plenty of reading material if you search on "Pro Tools Dropouts" or "Ableton Live dropouts." But I don't blame the programs, I think it has more to do with people trying to get computer "sports car" performance out of the computer equivalent of a Ford Focus.
 
Neither Windows nor OS X were optimized for real-time data streaming. One way to compensate for that is with really good hardware and lots of memory, which costs money. Too bad the Amiga didn't take over the world 
 

I think it has more to do with people trying to get computer "sports car" performance out of the computer equivalent of a Ford Focus.

Would that be the Focus ST-3?
 
https://www.ford.co.uk/cars/focus/models-specs/st-3
 
 

Bristol_Jonesey

I think it has more to do with people trying to get computer "sports car" performance out of the computer equivalent of a Ford Focus.

Would that be the Focus ST-3?
 
https://www.ford.co.uk/cars/focus/models-specs/st-3
 
 

Or its big brother.. 
https://www.topspeed.com/cars/ford/2018-ford-focus-rs500-ar173599.html
 
 

Anderton

mettelus
2. The plethora of drop out threads I see here recently. Drop outs is a hazy one, since drivers, setup, and understanding how the computer is thinking and processes is a large part. However, being able to track into a "damn near done" mix often requires (anyone doing this cannot dodge these bullets forever...) bypassing global FX, resetting audio interface buffers, and/or bouncing everything down and recording into a new project (can also freeze/archive, but that can be messy too). Drilling into preferences, and knowing the above is a massive hassle for someone who just a cool idea, inserted a track, and is on the verge of arming/recording... then reality strikes. This is a workflow issue that would affect almost everyone, and although the feedback for this was "too hard to do" from a couple years back, SOP 3.5 just did it. One click, and you can go from massive post-production mix to "tracking mode."

 
Well...I don't get dropouts, but when I did a year or so ago, I followed the advice in the Toast notification and that solved it. No matter how much you go into Preferences, that can take you only so far when the problem is in the computer setup. This also happens on a Mac.
 
Search on "Presonus Studio One Dropouts" and you'll have plenty of reading material. You'll also have plenty of reading material if you search on "Pro Tools Dropouts" or "Ableton Live dropouts." But I don't blame the programs, I think it has more to do with people trying to get computer "sports car" performance out of the computer equivalent of a Ford Focus.
 
Neither Windows nor OS X were optimized for real-time data streaming. One way to compensate for that is with really good hardware and lots of memory, which costs money. Too bad the Amiga didn't take over the world 
 

Drop outs were a big one awhile back. A small handful of members seemed to  constantly be having this issue. I wanted to feel their pain, but no matter how hard I tried I couldn't replicate the issues. I had different hardware and I suspect that was some of it was hardware related. I wonder if Mettilus is using Platinum now. Lots of bugs have been reported and fixed since then. Some folks simply couldn't bring themselves to like the new workflow since they were so accustomed to Pro.9 You could have given them the moon and stars and they would have left. These were the people who mostly used Sonar as a tape machine, were used to that method and couldn't or wouldn't change. It was a bold step by Cakewalk to go into the new direction. I'm glad they did.
 
Buying little known interfaces and using limited computers is always asking for trouble. I'm not referring to the crowd that left, since a few of those guys had fairly nice setups. A few probably had compromised setups. You can win some of the people some of the time, never all the people all the time. Let em' go. I hope they find what they want. The only problem is some of them take bad info about Cakewalk using older versions. We can't stop that either.
 
Fortunately this is a small minority of users and most of us have no issues at all or maybe an occasional issue which is expected with any software program.
 
This thread is pretty much a dead end anyhow since there are no longer lifetime updates, and probably won't be. My whole reason for coming on board was just to say, What other options are there?  If I'm either a Platinum user deciding to upgrade again or a new user reading this thread. 
 
I don't think any of the competition is doing any of this at the moment-
 
- Offering a monthly pay plan
-Adding a very high percentage of progressive major enhancements above and beyond routine bug fixes throughout the pay cycles as compared to the others.
-Maintaining some of the best support offered anywhere in the forum. I challenge you to go to any of the others and find even half of the support we have here.Most questions are answered fairly fast by members here.
-Offering a price at 100.00 off MSRP putting a heavy program into your hands at the same price as many close competitors who in most cases offer much less for that price. A few charge more than Cakes MSRP price. Once you gain entry, there are periodic sales on upgrades and discounted prices from partner software vendors.
 
And my other point was the higher MSRP. I think this is a potential turnoff to a few buyers , This is my opinion. You don't have to agree.
 
There are sales. There's one going on right now. 499.00 slashed to 399.00. I don't know when this one will end or when another will begin.
 
 
 

I certainly recommend looking at the lesser levels of the product, as well. Sonar Professional is quite powerful, still, and for many, it's still more than enough. If I were starting out with Sonar, that would be the one I'd grab first.

Zargg

Bristol_Jonesey

I think it has more to do with people trying to get computer "sports car" performance out of the computer equivalent of a Ford Focus.

Would that be the Focus ST-3?
 
https://www.ford.co.uk/cars/focus/models-specs/st-3
 
 

Or its big brother.. 
https://www.topspeed.com/cars/ford/2018-ford-focus-rs500-ar173599.html
 
 

Actually, this Ford Focus : "A 10 Best Cars winner in 2012 and 2013, Ford’s third-generation Focus is now merely a competent small car that is starting to show its age among a set of fresher rivals. The current Focus sedan and hatchback have been around since the 2012 model year without major changes, leaving it behind many competitors in terms of available technology." 

Starise
And my other point was the higher MSRP. I think this is a potential turnoff to a few buyers , This is my opinion. You don't have to agree.

 
Actually I do agree, and hope the $399 sale becomes the rule rather than the exception. Don't get me wrong - I think Platinum is worth $499, but that's because I've used it long enough to take advantage of all the nooks and crannies that make it worth that much to me. Those features will not be obvious to someone who hasn't used it.
 
I do think brconflict's advice about Professional is relevant, too. It's very cost-effective.

I'm a satisfied lifetime update. I almost missed it, taking a mixing hiatus. I've paid a lot in the last 15 yrs so I think it was a great marketing tool as well as starting the CCC.
Also getting their great product out there.
CCC works well for me on the new laptop.

I was saving to get a larger and USB interface which I did when I saw the offer.

I don't want to tempt the bear..... But I've never had a CCC issue or operational error.

Just to clarify the above; the only drop outs I have had in the past few years are always associated with adjusting interface buffers at the interface. This is expected, since SONAR is locked to it; so when it changes, the audio engine disengages. It is simple to re-engage the audio engine. The hurdle of recording a new track (such as a final lead vox track) in a complex project was really the point, not that I suffer drop outs personally.
 
My membership expired in 3/2016, and the final Manchester build (1/2016) is the Platinum version I run.