I have used Guitar Pro for as long as I can remember. The other great problem is compatibility with sound interfaces: it took me some time to get the playback correctly working and not lagging after reproduction. In my mind, those are huge setbacks: the main purpose of Guitar Pro is to provide a stable transcription tool.
#AROBAS MUSIC EARMASTER PRO 6 PC#
It also shows slowdowns even when the PC should fully support it.
I've had quite a few random crashes (but then again, this has always been an issue with Guitar Pro). This, of course, slows down work either if you come from previous versions (because you will have to readjust to the new writing space) or if you just find it comfortable to have a nice perspective of everything you are writing or reading. The interface is accessible enough but confusing to those who come from previous versions of Guitar Pro and wish to continue working in the same fashion(I'm not complaining about changes here, Sibelius 7 was a big step forward because it was actually easier to use once you got used to it).Īs soon as a file is loaded the screen is filled with an invasive lateral toolbar that leaves no actual writing space. It took me a while until it recognized my EMU Tracker Pre or my M-Audio FastTrack. That being said, I was sad to see I was having problems with Guitar Pro 6 from the moment I installed it.
For some, it has even become a part of the composition process in guitar-oriented tracks (a clear interface and a focus on speed writing are crucial tools). We'll get into more detail on the programming and instrument features below.Writing for electric guitar presents a lot of difficulties when it comes to traditional scoring software, so since its first version Guitar Pro has been a must for every guitar player that wants to leave a detailed written version of their creations or transcriptions. It also provides several sound tweaking capabilities and a limited slate of audio effects.
#AROBAS MUSIC EARMASTER PRO 6 PLUS#
The KOMPAKT player provides up to 8 stereo outputs plus a main mix output, any of which can be used as inputs into the DAW. There are also humanization-oriented instrument customizations such as left- and right-handed drum and cymbal hits. The sounds are unprocessed, multiple mic drum sounds, with programming and instrument assignment conventions that interact with the KOMPAKT sample player in ways that provide an interface to the digital audio work station that is very similar to what you'd get from actual mic inputs from a multi-mic drum setup. The resulting sample set comes in just under 2.4 GB. Instruments in the kit include: 5 toms (3 rack, 2 floor) 2 kick drums (left, right) with changeable felt or wood mallet beaters, 3 ride cymbals, 1 china ride cymbal, 2 china cymbals, 1 spock cymbal (like a cross between a china and crash cymbal), 5 crash cymbals, 2 splash cymbals, 3 snares (including removable bottom snares on the Sonor snare, which, if chosen, also affects the sound of the kick and toms), 2 hi-hats, and a cowbell. To that kit, DFH2 adds three snare options (Sonor cast bronze, Pearl birch, and Pearl brass) plus Sabian hi-hats and a healthy selection of, primarily Sabian, cymbals (also one each Zildjian, Meinl, and Istanbul, as well as one custom cymbal). Whereas DFH Superior, one of the high end choices alluded to above (and the subject of a future CakewalkNet review), weighs in with a huge (35 GB) library with multiple drum kits plus percussion, DFH2 focuses on a single Sonor drum kit. The DFH2 sample set is a subset of the library portion of Toontrack's Drumkit From Hell Superior, augmented with a special version of Native Instruments' KOMPAKT sample player. In this case, the sample set was produced by Toontrack Music with Tomas Haake (Meshuggah), the same team responsible for the critically acclaimed, and highly popular, Drumkit from Hell sample set. Drumkit From Hell 2 (DFH2), from East West Sounds' Pro Samples Platinum Series, is one of the new breed of products that combines a high quality sample set with a highly functional sample player.
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