A REVOLUTIONARY WAY TO DESIGN YOUR OWN DRUMS

• New, innovative drum designer for single kicks, snares, hi-hats, percussion, rises, hits and more.
• Layer up to eight samples and shape them with classic subtractive synthesis
• Decompose samples into tonal and noise elements
• Re-synthesize samples to manipulate them in unheard ways and apply up to eight effects with two fully routable buses — all with a slick, extremely fast interface.
• Directly export audio for clip-based music production

Website link

What do you think about it? Any better/cheaper alternatives?

 

I dont get it. why they dont add oscillators too? this is like an eq/effect plugin.

too expensive if you ask me but somehow its a nice combination of things i havent seen before like this. the decomposing stuff is interesting.
i need 300 $ for bail. if i buy this i will get locked up for 5 days

it is a nice unique tool if u are into drum synthesis for sure. engineers maybe also will like it idk.

will keep this one in mind... thx

 

I bought Backbone yesterday without reading the system requirements... its VST3 only. I have Cubase so its not a big deal but I mostly work in Maschine 90% of the time.

So just a heads up, if youre planning to use Backbone make sure youre doing so with a VST3 compliant DAW.

 

I didn't buy Backbone yesterday. It's ok. A bit like a wannabe Form or Iris or Alchemy. Except basic. It's quite fun playing around with samples, doesn't use osc, more liek wt / formant synth - it has resynthesis. It works. Sometimes? It does do a few interesting things, tho. Also, thankfully easy to knob-learn, seems based on / uses Halion.

 

I think it looks cool.... didn't try it yet.

 

posted twice.... by accident

 

Last edited: May 29, 2020

150$, worth 15$ max. For 150 you can get an analog hardware Behringer mother32 clone.

 

Look how far apart the speakers are in that promo photo!! LOLZ!!!

 

This is all very cool, but (i am sure a Steinberg guy will read this thread, so, my dear friend, this is also for you),
but,
Steinberg keep on adding more and more products, for their catalog, but the number of employees has more or less remained the same, for many many years...
We wait 12 fucking months for a new cubase version... 12 months... and we often only get 1 or 2 , what we can consider "great news features", and the rest of the update, is more or less just "fillers"....
"Look, in this new version, we added :
- 2 old plugins have received a new dark gui + a dry/wet button
- we added 4 extra colors for x feature
-we added a side chain button on 2 plugins
- we added 50 new presets "

Minor, tiny little things like these can be considered "great new additions", on that new 100 €/$ update...
... when such things would only be a minor v3.5.6 to v3.5.7 update, for daws like Studio one, or Reaper, who deliver epic, gigantic updates almost every single week, with only 2 or 3 guys typing code...

We all remember older amazing cubase updates... v5...v6...v7..v8..
But as Steinberg keep on adding new products, these updates become more and more laughable, on each new update.
Updates... that are PAID, by the way...

With 170 employees, let's say they have what, 80 to 100 developers ?
Those devs must WRITE NEW CODE, must do the QA (Quality assurance), must FIX BUGS, must do the help-desk, must create new projects, must do all sorts of analysis, stats and reports, must attend regular meetings, must code NEW UPDATES, must test and validate those new updates, must bugfix those updates, must reply to complex forum/ help desk questions, must integrate and evaluate new standards (midi2, mpe, new audio or video codecs), must code drivers for hardware, must r&d the copy protections, enhance and update the elicenser, must test the web services inside the app... and probably 100 other tasks I don't know !

When there was only cubase, nuendo, and a little of wavelab to do, all those devs probably had a lot of time to dedicate to each of those apps. They could imagine new great features, for, eg, cubase, and they had enough time to code, implement, test, and release it around June and December. They had enough time to release 2 updates per year. Today, the truth is, they had to stop releasing a June update, because they simply hadn't enough time to code enough NEW CONTENT , twice a year... even with 12 months of work, they barely have enough time to code new features for the December update.

What's next ? We are only be getting ONE single update EVERY 2 YEARS ? Cubase 10.5, november 2019. Cubase 11, november 2021 ??

But today, those devs ALSO HAVE
- groove agent....
- halion
- ALL the "ELEMENTS" versions
- dorico
- vst connect and vst transit
- Spectralayers
- vst2.4, vst3, and probably a future vst4
- vst instruments, like retrologue or pad shop
- all the news synths and synthesis techniques inside Halion
- the ipad apps such as cubasis
- all the halion libraries, all the orchestral stuff
- all the audio interfaces and usb controllers...

So, whereas a few years ago, most Steinberg devs 'only' had cubase, nuendo and wavelab, and they probably had 30 or 40% of their time that they could use to code NEW CUBASE FEATURES,
with all the new apps above,
Today, all the Steinberg devs probably spend only 10% of their time, on the new cubase features, and 1 month before release, because there still are a bunch of bugs, or things aren't totally completed yet, maybe only 20 or 30% of all the features they had coded, will make it to the upcoming update...

So, basically, Steinberg devs only spend like 60 or 90 minutes on cubase, per day, which is the most important app. They went from 3 or 4 hours per day on cubase, a few years ago, to 1 or 1h30, today ! And we can see it.. in December... on each paid update...

STEINBERG : it's cool, to add more and more products, like Spectralayers.... but they need to hire 10 or 20 extra devs !
Currently, cubase must be the most sold daw, and Steinberg truly enjoy their monopoly...
Obviously, because they are #1, they don't see the need to spending many more resources and money, on cubase.
To them, these cubase updates are already more than enough : why adding 10 new features to cubase, when they will sell the same amount of copies, with only 3 or 2 new major features !

The same happened with Reason. Before the rack extensions, each new reason update would bring a bunch of new features, amazing new synths, fantastic new tools, etc etc. When they introduced the rack extensions, suddenly, their updates became a huge pile of dog shit.. thanks to their mentality 'hey, why would we give away this amazing new synth or tool, for free, with the paid update, when we can sell that new synth, as a $90 rack extension?... "
I stopped buying the reason updates, at v9. No thanks.

R2R said they already cracked the reason codemeter protection, but will only release it if they can release ALL the extensions.
I really hope one of these days, Christmas, Easter, valentine's, etc, they will blow or minds, like what they did with the plugin alliance, and they will release the full Reason 11 (or 12).

Maybe that will force propellerhead to lower their rack extensions prices (120 bucks for a parsec synth.. really? )

 

Yeah, it feeels like we're all beta-testers for Steinbug, one of the worst & slowest devs evah. I think the latest C10.5 release info says "most feature-packed update evah", but they introduced about two or three new things, none noticeable! The plug-bug report thing is an actual hinderance ffs, garbage. Colorize is apparently a massive new feature (introduced in C5 afaik =) wtf!

 

if you look at the updates, only a handful were very useful since version 5, others are not changing the game, if you ask me all these new addons make the daw less efficient and more buggy.

 

I disagree,features look awesome and for this money you don't even get a simple EQ like Fabfilter.Some Softube or Plugin Alliance emulations cost the double!

Edit:But I agree that the plugins are overpriced in comparison to hardware.

 

So just a quick update, I indirectly may have found a workaround for using VST3 in Maschine using a VST host.

I purchased Scaler 2 this week as well and while it works flawlessly in Cubase, I could not get it to work in Maschine (this is something that Maschine is historically not very friendly at doing with these type of plugins). Did a quick Google search and found this video which introduced me to BlueCat Audio's Patchwork that MG uses to get Scaler to work. What was even more interesting is that it also gives you the option to load VST3 plugins so there might be a possibility to get Backbone to load and work in Maschine. Will take a moment to explore and report back.

On a separate note, I've been using Backbone for several days now and as far as my expectations of the instrument goes, it's good. I don't want to call it a simplified sampler because I feel its a bit more than that. It does come with a great collection of sounds and the workflow it provides makes it quicker and easier to get great and unexpected results when designing sounds. I feel I need to dig deeper into it before I can give it an honest review but if you're debating on buying it, definitely try the demo out first.

 

UPDATE: So every VST3 instrument I own other than Steinberg's own vst's will load in BlueCat Patchwork. I guess I'm using Backbone in Cubase until NI brings vst3 support to Maschine :/

 

Hittin' this topic with the defibrilator... Have you tried Kushview.net Element ? It is a vst2 host (and vst3) that will load vst3 and it acts as a vst2/3 plugin itself. There is a vst and a vsti version. But I'm hoping you may have found another solution to utilize Backbone in a vst2 environment because I couldn't quite use Element for my purposes. I'm trying to use DiscoDSP Bliss to resample a Backbone patch using its vst sample engine. Even though Bliss is vst2 and vst3, neither version will auto-sample vst3 instruments - only vst2. But Element vst2 will open in Bliss and it will host Backbone vst3 and it works and plays within the Bliss engine, but when I hit the sample button, it returns with blank samples. I'm just shooting in the dark here... thanks.

 

Not only that but the sweet spot that the tweeters are pointed at are some far off space other than anywhere near where the fellow is sitting. Perhaps the height is OK. This makes it seem as if that the marketing department recieved the lion's share of the developing budget.