How To Install Effectrix In Logic Arguments
Our website provides a free download of Effectrix 1.5. This PC program was developed to work on Windows XP, Windows Vista, Windows 7, Windows 8 or Windows 10 and can function on 32 or 64-bit systems. This program is an intellectual property of Sugar Bytes.
Will Sonar ever be coded for Mac??? Ok, so after 15years of writing and recording I'm going 'pro' and start a degree in Creative Audio Technology in september. The big flaw in this??? Having to learn Logic inside out!!! Industry standard my arse!! Don't get me wrong, it's a pretty cool package, but man - it aint Sonar! With Apple seemingly now the platform of choice in homes and studios worldwide I'd hate to see Sonar go the way of the BetaMax.
Afterall, the key to survival is the ability to adapt and evolve. So please Cakewalk, I and many others beg you, support both platforms. Not least because my MacBook Pro will be delivered soon and I really wanna show my Lecturer and fellow students what the new industry standard looks like!
So, anyone else think Sonar becoming cross-platform would be good thing?? Answers on a post-card =) p.s. Yes, I know, Bootcamp.;). I think I wold too, because then wouldn't have to bootcamp my laptop! Cake has said repeatedly it's too much dev cost and not enough audience on the other side to do it and support it. Their argument makes some sense, with Apple's very own high-end DAW as well ProTools and all other players (Reaper, Studio One, and lord knows what else.) who would want to try and assemble an attack into that market?
On the other hand, Macs are quite popular with the creative class of people, and I think the percentage of them is higher than in a regular cross-section of peeps. By NOT having a horse in the race it automatically rules out potential converts. I'm ambivalent.
If they come up with a major reimagining of SONAR that is cross-platform and moves forward into the future I'd be happy. If they don't cross-platform it but still move into the future I'll still be happy. If they make it cross-platform and DON'T make a leap forward? I'll throw a right-royal tantrum of epic proportions.
Which of course means writing uselessly long screeds on the forum. Chilldanny Teksonik Really?
Yeah, I mean people at the very least have an iPod or iPhone. And with the iPad it's simply a matter of time before Logic or Live gets ported. Also, google some studios and Apple really does have the market share here. Worrying if Cakewalk don't see the benefits. I'm not talking about ipods I'm talking about choice today for home and small studios. I'm also not talking about major studios or what might happen to Logic in the future. Do you have some market share facts for Cakewalk?
I'm pretty sure they do and there's a good reason why there is no Mac version of Sonar. They can barely support their PC customers I can't imagine how bad it would be with cross platform support.wicked I think I would too, because then wouldn't have to bootcamp my laptop! Cake has said repeatedly it's too much dev cost and not enough audience on the other side to do it and support it. Their argument makes some sense, with Apple's very own high-end DAW as well ProTools and all other players (Reaper, Studio One, and lord knows what else.) who would want to try and assemble an attack into that market? On the other hand, Macs are quite popular with the creative class of people, and I think the percentage of them is higher than in a regular cross-section of peeps.
How To Install Effectrix In Logic Arguments Online
By NOT having a horse in the race it automatically rules out potential converts. I'm ambivalent. If they come up with a major reimagining of SONAR that is cross-platform and moves forward into the future I'd be happy.
If they don't cross-platform it but still move into the future I'll still be happy. If they make it cross-platform and DON'T make a leap forward? I'll throw a right-royal tantrum of epic proportions.
Which of course means writing uselessly long screeds on the forum. I would love a Mac-native version of Sonar. My pc daw computer is dying and I find I'm doing more and more work in Digital Performer on my Mac Powerbook. Looking for a MacPro desktop and I will not Bootcamp it to run a cruddy OS like Winblows. Tis a shame because I truly love Sonar (started with S3P, then S5P and now S8.3.1P) and work on autopilot in it. The Mac OS is so much more elegant. Want to run multiple audio interfaces in OSX?
Create an aggregate device in the OS and you're done. No special drivers needed like on the Windoze side. Sadly we will never see a Mac-native version of Sonar. I don't think that it's so much that it'd be a bear to program like Cake says but more a case of Cake doesn't have the programming chops to do the job. There's plenty of audience to support Sonar on the Mac side. Computer's are powerful enough one doesn't need ProTool's TDM cards anymore so it's time for a native daw.
DP ain't 64 bit and a 64 bit version isn't on the horizon. Logic is now 64 bit but there are problems. Sonar has a pretty damn good reputation for leading the way with 64 bit and stability - why not take that over to the Mac side? When I say Mac-native I mean a program that will run in OSX and not some Bootcamped Frankenstein running the OS du jour from Redmond. Chilldanny Ok, so after 15years of writing and recording I'm going 'pro' and start a degree in Creative Audio Technology in september. The big flaw in this???
Having to learn Logic inside out!!! Industry standard my arse!! Don't get me wrong, it's a pretty cool package, but man - it aint Sonar! With Apple seemingly now the platform of choice in homes and studios worldwide I'd hate to see Sonar go the way of the BetaMax. Afterall, the key to survival is the ability to adapt and evolve. So please Cakewalk, I and many others beg you, support both platforms.
Not least because my MacBook Pro will be delivered soon and I really wanna show my Lecturer and fellow students what the new industry standard looks like! So, anyone else think Sonar becoming cross-platform would be good thing?? Answers on a post-card =) p.s.
Yes, I know, Bootcamp.;) Sonar can't be made to work on a Mac. At this point the only thing Cakewalk could do is start developing a brand new product for the Mac. They could call it Sonar but inside it would be a new program starting at 1.0. If you consider it took over a decade to get Sonar to the state it's in now I would not expect a new product for the Mac to be usable till what? And at any point along the line Apple could pull the rug out from under them with a new way sound works in Mac OS.
I can't imagine it would be worth it. There are already more mature products for the Mac then the tiny market can support, how could you make any money at that when the folks who have worked at it for years can't? It's simply not going to happen. If you want to talk industry standard learn ProTools. It's not as good as Sonar but it's the standard and it's available on Mac and Windows already. Because I don't have any Mac computers.
Sorry, but that's just the way it is. Just kidding, of course! I really don't know, but I doubt it.
I would think that there would have to be thousands of users who wanted that option in order to make it even slightly worthwhile for Cakewalk. Scott - Scott R. Garrigus - Author of the Cakewalk Sonar and Sony Sound Forge Power book series.
Get Sonar 8 Power - Today! Go to: -Publisher of DigiFreq - free music technology newsletter. Win a free SoundTech Vocal Trainer Package, go to: Publisher of NewTechReview - free consumer technology newsletter. Win a free i2i Stream Wireless Music Pack, go to. Okay guys, following Apple and their hardware choices over the last few years.they went from PPC cpu to Intel and now with the Ipad A4 cpu.I got a feeling that sooner or later that all of apples products will contain an A4 cpu soon enough and a whole new ballgame of code to write that for. So.I have to support Sonar.they have been writing the code for Sonar since the 286 days of intel code, etc and like they said, one just doesn't get the scope of having to switch the code for a new cpu without going out of business. Pro studios use Protools (here in the us).
Post, smaller places etc. Use a variety of programs, mostly mac. Market penetration is costly, since even pros only have a limited time to 'learn' new ways to do old tricks and stick w/ them that brought them to the dance. The home studio revoltion is PC centric (for the masses, anyway). That is Cake's market, and they have a fair share of it.
And they have plenty of pros taking their home recordings to the major studios for mixing, etc. Bands take their 'real' studio trackings home to mix. Even more of us simply do it all at home (beats raising chinchillas and makes as much money). Last night the wife's jazz band had to practice here and the sax player had Cubase LE from an interface and we talked a little bit about latency, etc. (actually I talked and showed him what to look for in Cubase using SONAR since he's having problems). That is Cake's market - musicians not engineers at a big studio. That being said a lot of what you learn at home can go to a different software in another studio, tho not the workflow aspect.
Cake has a good thing going w/ the PC world - why dump in lot of money into a different hardware w/o a commensurate payoff? ICrap, iStupd, iToilet, iDesk, iCar, iForum, iTruck, iBattery, iDumb, iPakled, iTV, iMTV, iMP3, i i i i i i i i i i. I will never own any apple junk. And I avoid all other company's 'i' garbage: iHP.
The reality of Steve Jobs abandoning tech, and therefore users, makes apple stuff very expensive. I have clients who use macs. They tell me, 'They sometimes work fine as long as we do not want to do stuff that is not included in the wizzers. Try to change that and the sky is falling. They are supported by idiots.' If CW managers are serious about increasing market share they will focus on the core software and stop being diverted by the Roland Hardware trolls. Fix, and improve, Sonar: before offering me more softsynths and plugs. Hardware distraction.
I was hoping for more support from roland, but the forum software still does not search properly. Respect for current users, the base profit center, is increasingly lacking. I fear the Romulans have infiltrated the CW labs. I do not want to learn a new DAW, but.
Full text of ' 4. SECRETS OF NATURE.ASTR(3»Lb£Y AND ALCHEMY. IN EARLY MODERN EUROPE. edited by WILLIAM R. NEWMAN and ANTHONY GRAFTON Secrets of Nature Transformations: Studies in the History of Science and Technology Jed Buchwald, general editor Sungook Hong, Wireless: From Marconi’s Black-Box to the Audion Myles Jackson, Spectrum of Belief: Joseph von Fraunhofer and the Craft of Precision Optics William R. Newman and Anthony Grafton, editors, Secrets of Nature: Astrology and Alchemy in Early Modern Europe Alan J.
Rocke, Nationalizing Science: Adolphe Wurtz and the Battle for French Chemistry Secrets of Nature Astrology and Alchemy in Early Modern Europe edited by William R. Newman and Anthony Grafton The MIT Press Cambridge, Massachusetts London, England © 2001 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. This book was set in Sabon by Graphic Composition, Inc. And was printed and bound in the United States of America.
Library of Congress Cataloging-in-Publication Data Secrets of nature: astrology and alchemy in early modern Europe / edited by William R. Newman and Anthony Grafton, p. — (Transformations) Includes bibliographical references and index. ISBN 0-262-14075-6 (alk. Astrology — Europe — Elistory.
Alchemy — Europe — Elistory. Newman, William R. Grafton, Anthony. Transformations (M.I.T.
Press) BF1676.S43 2001 133'.094 — dc602 Contents 1 Introduction: The Problematic Status of Astrology and Alchemy in Premodern Europe 1 William R. Newman and Anthony Grafton 2 “Veritatis amor dulcissimus”: Aspects of Cardano’s Astrology 39 Germana Ernst 3 Between the Election and My Hopes: Girolamo Cardano and Medical Astrology 69 Anthony Grafton and Nancy Siraisi 4 Celestial Offerings: Astrological Motifs in the Dedicatory Letters of Kepler’s Astronomia Nova and Galileo’s Sidereus Nuncius 133 H. Darrel Rutkin 5 Astronomia inferior: Legacies of Johannes Trithemius and John Dee 173 N. Clulee 6 The Rosicrucian Hoax in France (1623-24) 235 Didier Kahn 7 “The Food of Angels”: Simon Forman’s Alchemical Medicine 345 Lauren Kassell 8 Some Problems with the Historiography of Alchemy 385 Lawrence M. Principe and William R. Newman Contributors 433 Index 435 Frontispiece: Chart of alchemical elections from Thomas Norton, Ordinal of Alchemy, found in British Library MS. 10302, late fifteenth century.
This page intentionally left blank This page intentionally left blank 1 Introduction: The Problematic Status of Astrology and Alchemy in Premodern Europe William R. Newman and Anthony Grafton The Position of Astrology One night in 1631, a young Jesuit lay sleeping in his order’s college at Wurzburg. He slept the sleep of the just, not only because he had found a scholarly vocation, but even more because the Holy Roman Empire had reached an uneasy state of truce.
The emperor had conquered his Prot- estant enemies; no one, the Jesuit later recalled, could even imagine that heresy would revive. Suddenly a bright light filled the room.
Waking, he leapt out of bed and ran to the window. He saw the open square before the college full of armed men and horses.
Hurrying from room to room, he found that everyone else was still deeply asleep and decided that he must have been dreaming. So he ran to the window, where he saw the same ter- rifying vision. But when he woke someone to serve as a witness, it had van- ished. In the next few days, he became a prey to fear and depression and ran about, as he later recalled, “like a fanatic,” predicting disaster. The oth- ers made fun of him — until, with satisfying rapidity, invaders materialized and the city fell. Suddenly, the prophet was treated with respect in his own country. Since he taught, among other subjects, mathematics, his friends inferred that he must have used one of his technical skills to forecast the invasion.
Surely, they argued, he had used the art of astrology to make his prediction. Nothing else could explain his ability to foresee so unexpected a turn of events. 1 The young Jesuit, Athanasius Kircher, had actually foreseen the future through direct divine inspiration, a fact he carefully concealed.
What mat- ters, from our point of view, is the reaction of his friends. As late as the 1630s, the most highly educated young men in south Germany still found 2 William R. Newman and Anthony Grafton it rational to believe that astrology could enable Kircher to predict vital po- litical and military events. Evidently astrology still enjoyed a level of cred- ibility that now seems hard to fathom, and that in a highly educated and deeply Christian milieu. Kircher, who became not only a brilliant archae- ologist and Oriental scholar, but also a practitioner of natural science so adept that his public demonstrations won him at least one charge of be- ing a magician, evidently agreed with his friends’ belief in the ancient art of predicting the future through the stars, even though he had not had re- course to it in this case. 2 Astrology was not classified as occult or dismissed as superstitious: it was, in fact, a recognized, publicly practiced art.
This story illustrates the principle, as vital as it is easily ignored, that the past is another country. In educated circles in the United States and Eu- rope, astrology seems merely risible now. No member of the elite wants to be caught with an astrologer. The revelation that former U.S. President Ronald Reagan and his wife, Nancy, regularly consulted the astrologer Joan Quigley was trumpeted by their liberal critics and ignored by their conservative allies.
And when the Economist noted, a few years ago, that a Brazilian stock advice service that relied on the stars had made enormous profits for its customers, it covered the phenomenon only in order to heap ridicule on all concerned, although the service had scored multiple suc- cesses. Astrology has, and can have, no currency in our skeptical, myth- shredding intellectual economy. Even the most astute scholars share these views.
Theodor Wiesengrund Adorno, for example, argued that only cred- ulous fools with authoritarian personalities would resign psychic con- trol over their lives to the stars. That explained, in his view, the fact that the art flourished in Los Angeles. Only in the German preface to his essay, originally written in English, on the Los Angeles Times’ astrology column was Adorno honest enough to admit that the Germans of the 1920s and 1930s had exhibited similar tendencies themselves. 3 No one who starts from presuppositions like this can hope to under- stand the pull of astrology in the present, to grasp and explain the fact that between 20 and 50 percent of the population of the world’s developed countries, in western Europe, North America, and Asia, believe mildly or strongly in astrology, right now. 4 It is all the more necessary, then, to adopt a different attitude when we turn toward the nature and role of astrology and related disciplines in the past.
R Thompson magisterially condemned as “the enormous condescension of posterity” can only hin- Introduction 3 der us from understanding the beliefs and practices of practitioners of as- trology and those who used their services. Renaissance astrologers, for example, drew up luxurious, custom-made manuscript genitures for the rulers of Renaissance Europe: not only for their spouses and children, but also, of course, for their enemies. They tab- ulated the births and fates of men, women, and monsters in collections of genitures, first in manuscript and then in print. 5 On request, they investi- gated what the planets had to foretell at a particular moment about spe- cific marriages, journeys, and investments or about their clients’ physical and mental health. 6 Often they stalked city streets and squares, hawking almanacs: pamphlets, usually of eight or sixteen pages, in which they explained why planetary conjunctions or eclipses foreshadowed disaster.
7 Astrological doctrines inspired some of the most spectacular works of Renaissance art, from the frescoes of the Palazzo Schifanoia in Ferrara to Albrecht Diirer’s Melencolia I. 8 Astrological practices influenced and some- times ruled behavior in the most modern, forward-looking sectors of Renaissance culture. At the court of the Estensi in the 1440s, the brilliant young Marquis Leonello changed his clothes according to an astrologi- cally determined rhythm, choosing each day a color that would draw down the favorable influence of a particular planet. In Republican Florence, in the same years, the mercenary captains who led the city’s armies received their batons of command at an astrologically determined time. 9 In much of early modern Europe, in other words, astrology was a prominent fea- ture of the practice of everyday life. A good many of the most eminent pro- tagonists of the Scientific Revolution, finally, joined in the production of genitures and almanacs, and a number, including Kepler, worked hard to reform the art in the light of philosophical criticisms and new scientific data. 10 Yet few historians are willing, even now, to give astrology its due.
Tra- dition weighs heavily against doing so. Even before Friedrich von Bezold, Aby Warburg, and other pioneers began to study the subject systemati- cally in the last years of the nineteenth century, Jacob Burckhardt had described the humanists who revived the art as so many sorcerers’ ap- prentices. They wished to find in ancient culture ways to express their new, objective understanding of the world around them and their new, subjective understanding of their own individuality. Sadly, they made the error of believing that astrology was one of these. In fact, the revival of this 4 William R. Newman and Anthony Grafton fetid, authoritarian superstition led them both to misread the cosmos as a whole and to subjugate the individual to universal laws. Astrology, in other words, hampered the rise of a new culture — until Pico della Mirandola gave the superstition its death blow with his brilliant dialogues.
11 Warburg knew far more than Burckhardt about astrology; he knew, for example, that it permeated European society at every level long after Pico’s death. Yet he inherited not only the great Swiss historian’s method, but also his attitude to superstition. Warburg found the primitive elements in advanced systems of thought as terrifying as they were fascinating. He re- garded astrology as a threat to reason, one against which philosophers and theologians had had to struggle, in antiquity and in the Renaissance. He himself, during the mental crisis caused by World War I, wandered the streets of Hamburg looking for dark-faced, “Saturnian” children to whom he would give chocolates in the hope of warding off the threat posed by the most malevolent of planets. Warburg saw astrology as incoherent and debased and its practitioners as credulous. For all the fascination with which he studied ancient images of stellar demons, the Table Talk of Martin Luther, who denounced astrologers as incompetent, inspired the warmest enthusiasm in him.
Luther mocked the genitures that Italian as- trologers had put into circulation and that connected his birthday with ce- lestial portents like the great conjunction of 1484. After all, he pointed out, the date of his own birth was uncertain even to him. Luther showed himself even more intolerant when a conjunction in the sign of Pisces, which took place in 1524, led many astrologers to predict that a second universal flood would take place, but none of them foresaw the Peasants’ Revolt of 1525. Astrology was related to reason, Warburg thought, only because it provoked the exercise of that all too rare faculty. It belonged to that “Jerusalem” of Eastern superstitions that, over the centuries, had re- quired all the efforts of “Athenian” critical reason to dispel them.
12 Simi- lar prejudices recur regularly in some of the best modern studies. Thus, the Bologna historian Ottavia Niccoli has brilliantly explicated the large role that astrology played in that curious, enormous literature of threat and promise, the dozens of pamphlets that bearded, ragged itiner- ants hawked and preached through the streets and squares of Italian cities in the years around 1500. But her heart also clearly lies with the represen- tatives of reason: sophisticated urbanites, in this case, many of them poor as well as skeptical, who mocked the flood when it did not happen on time. Introduction 5 She eloquently evokes the public derision they directed toward astrologers and their clients in the form, for example, of carnival plays that made fun of the credulity of the clerics who had ordered penitential processions and of the ordinary citizens who had fled their homes for high ground. These rituals, Niccoli holds, deprived the figure of the prophet, in Italy, of much of its cultural prominence: after the 1530s, no deluge. Once again, skepti- cism and realism accompany the attack on astrology; credulity and super- stition explain its continued practice.
But in fact, prophets inspired by astrology flourished in Italy throughout the sixteenth century. 13 Astrolog- ical portents helped Tommaso Campanella decide that the time was ripe for the Calabrian conspiracy he led in the years just before 1600, and as- trological eugenics and medicine played a central role in his blueprint for a new and just society, the City of the Sun.
14 Astrology formed more than a set of abstract theories and beliefs. It was also a coherent body of practices, strongly supported by institutions. Mod- ern economists retain their value to employers even when events overtake or refute their concrete forecasts about currency, interest rates, and stock markets. Similarly, the Renaissance astrologer retained his perceived au- thority and utility even when his individual predictions failed. Two brief case studies, one drawn from Italy, the other from the Holy Ro- man Empire, may suggest a new way of looking at early modern astrology: not as a fatty blockage of the intellectual arteries, a bit of philosophical detritus inadvertently fished up from the past along with Aristotelian and Stoic theories about matter and the cosmos, but as one of the many highly practical sets of intellectual tools that Renaissance thinkers forged and honed for dealing with the same problems that they also attacked with what now seem the shinier tools of social and political analysis. No Renaissance text offers a richer or more unexpected peep into the astrologer’s atelier than Leon Battista Alberti’s dialogues On the Family.
In book 4 of this famous description of the life and beliefs of a great Floren- tine clan, Piero Alberti explains how he won favor at the court of Gian- galeazzo Visconti, duke of Milan and inveterate enemy of the Florentines. Piero had used every technique known to Renaissance analysts of the ways of courts — or to modern sociologists specializing in network theory — to haul himself up the greasy rope of court favor. Unexpectedly, his deep knowledge of Italian literature gave him his main chance. By reciting po- ems, he attracted the attention of someone who already stood high at the 6 William R.
Newman and Anthony Grafton Visconti court, Francesco Barbavara. This was no easy feat. Like Saint- Simon 250 years later, Piero noted that the courtier must never leave the presence of power. Accordingly, he had spent whole days without food, “pretending to have other concerns,” just waiting “to encounter and greet” his patron, even though Barbavara was already on the lookout for talented men to support, since his own high position at court rested on his ability to dispense help from his favor bank to those who clung to lower rungs on the ladder.
15 Only precisely calibrated, pragmatic social tactics like these could have enabled Piero, a poor man, to become the friend of Barbavara, who, in turn, brought him to Giangaleazzo’s attention. Piero, himself an exile from Florence, found the duke gracious and ea- ger to befriend him. But he did not have to depend on his family name or his knowledge of the sonnet form to ingratiate himself.
“At that time,” he recalled, “the learned astronomers were anxiously expecting some sort of great trouble, for the sky showed them clear indications of upheaval, par- ticularly of the overthrow of republics, governments and persons in high command.