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And when I found Minihost Modular (the first new and free VST host I've seen in a long while), I decided to try it. Luckily, some enterprising dude finagled a way to may Ivory work with Kontakt, so I've been happy with Kontakt for quite some time.īut some pianos still don't run there. It's much easier to change pianos in Kontakt than in Studio One. and to save that setting so that it comes up that way every time I start up.īut eventually I tired of the interface complexity and went back to Kontakt. It's not as easy to use as MiniHost, but I tolerated that to gain the ability to load multiple pianos. So a year or so ago I tried the Studio One software that came with my Presonus box. Nor do I see any similarity in the program behaviors. But it’s also a grand, epic tale on the scale of Gone With the Wind - and as a result, more a portrait of a time and place than a specific character. We follow approximately a year in the life of Cleo, a domestic worker for a doctor’s family, and much of it is episodic and observational. And when it starts to crumble, ever so slightly, it’s alarming, if only because the world outside has proven to be so much less predictable and familiar.Īlfonso Cuarón wrote, directed, and shot Roma, which he has called “his most personal film yet.” Usually statements like that denote quiet, interpersonal, elliptical dramas, and Roma, which premieres at the Venice Film Festival today, fits that description to some degree. It’s a comfortable house for 1970s Mexico City to be sure, the very picture of educated bourgeois privilege, and even though the perspective is that of an indigenous housekeeper, it never feels like a scene of oppression. The house at the center of Roma is so minutely detailed that by the end of the film you’ll feel as if you spent your life there, too: its packed bookcases, sensible couches, dog-shit-smeared carport and the Ford Galaxy that’s just a little too big for it, the commercial jet that passes overhead every morning. |
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