Brian Walton

I don't actually use either for instrument runs on my own rig, They serve as backups for others in the stuido if the session runs out of better cables. The "best cable quest" resulted in a pile of cables that are rarely used. I do use Canare for XLRs though, has to be the star quad ones though. Did tests against more expensive cables and those results were negligable. Great build , flexibility and shielding qualites for the money. Balanced is much different than unbalanced runs though.

I like the opposite. Canare is more robust for the Mic Cable and the higher cap doesn't matter since they are balanced cables I like Canare for a live stage cable for guitar due to the robust nature, but I do not like the tone suck on my instruments (even running 10 ft cables. As for George Ls, not a fan of the design (and I've a/b them in guitar runs and not a fan of the sound either. Granted that doesn't really matter once you hit a buffered signal on your pedal board. Mesh - Wirlwhind makes some of the most robust cables out there. Good choice when reliablity is paramount.

Most are the same model Neutric NP2X. The question is do you want a 90 right angle or Straight connector on one or both ends (the silver ones are just fine). I would stay away from the silent option as they are not reliable at all. The color boot/ring is just an aesthetic thing if you want to be able to tell your cables apart. Also the link you sent posted is for Canare Cables, be aware they are on the dark sounding side. If you play a Tele, might be fine..but they can get muddy with something like a humbucker guitar. Mogami is more neutral.

Whirlwind, Pro-Co, Planet Waves, Fender are all repuitable brands. They are not producing cables that have the properties that Evidence Audio or VanDenHul or Vovox are creating and I'd argue they are worth a dime more. Are they worth $60+ more per cable, well that depends on the individual as well as the quality of the gear they are plugging in.

Correct. I can't touch a cable of any kind without an auto reflex using this technique. Can't remember what life was like without it.

Wow, you have have had some terrible instrument cables then!

I believe you are talking about speaker wire in this instace which is a different animal. Most speakerwire is not shielded (as in most cases that shielding isn't needed). However your environment was likley the expection and cheap insulated wire would have done the trick also, just a matter of knowing what to look for to solve the problem.

I agree Monster is overpriced snake oil. But that isn't what the OP is looking at. All cables are not equal assuming you have a top quality guitar and amp (and not a lot of fuss going on between them). Sure various cable are fine, but just any old cable can impact tone and response when using professional guitar equipment. These differences don't really matter with active outputs (on guitars, keyboard, etcs), but with vintage style passive pickups and a no-nonsense tube amp, there can be differences. Then again, you might have enough hearing damage to notice the difference, and there are other areas to improve tone more dramatically....but once one addresses those, cables are part of the equation (perhpas the last part).

They also make $70 USB cables, I'd use extreme caution. (and the switching plugs, while a good theory are pretty awful in reality). As for the Jerry Garcia piece. He used Canare G6 cables, which are pretty high on the cap end. They are robust and can be custom ordered for a reasonable price. I've used them on pedal boards mostly since once you hit a buffer the cable differences have little impact. A non-guitar Center cheaper custom made Mogami Gold is a decent starting point on "better" cables. Should be able to get them for less than $1 per foot plus the plugs. Something like the Lava Blue Deamon will likley be brighter per foot than what you are used to. How good this sounds can be dependent on the guitar. I tend to like something a little warmer. Evidence Audio intentionally does not publish cap specs. The amount of actual musical testing (Tony the inventor) did is unreal, there is a reason the end product actually made a difference. It wasn't just about theoretical, he tested in real conditions to determine the results.

Wanted to try this one, but I detest the pop ups on the web site. If this guy really is selling at the rate implied, he is filthy rich. What is the authorization and licencing system like?

I did quite a bit of testing using a 50s era Les Paul Jr and a Custom ESP (not the metal kind, one built for tone with custom wound pickups stright from Lollar himself into the best sounding amp ever made, a Trainwreck Rocket. Out of about 20 different cables (mostly high end) The Evidence Audio Lyric HG was the cable that was the most pleasing to the test group (David Gilmour's guitar tech came to the same conclusion, for what it is worth). This is not a robust cable due to the solid core design, so Studio use is fine. I use the Lava Ultramafic for stage use. Don't get too caught up with all the hype though, yes unbalanced cables can sound different, but realistically even with great gear, the person listening to a recording isn't really going to hear a difference. Keep cable runs short (10ft) and that will prevent a lot of the tone suck and make sure the Capitence isn't too high or too low as too low can sound brittle and too high will make things dull.

One of my closest friends was the guitar player on Take Me Home Tonight (Derek Ferwerda of www.theguitarroom.org ). Might see if he wants to record a little something in honor of this.

I'm going to throw out a counter argument to the "you need to play it" first thought. I used to believe in this theory, but over the years determined that generally has more to do with somoene that already knows how to play a bit. Yes, the guitar needs to be playable - but that judgement is better suited for someone with actual experience once you have a playable guitar pretty much any of them will be fine as long as you are commited to stick with it and learn. The first guitars I picked out for myself to learn on (acoustic and electric) were terrible matches for me. I would not want to play either one today for more than 2 minutes. That isn't becuase they were cheap entry level type of instruments. I have a Tanglewood I bought for $150 that projects better than my $3500 Taylor (over priced these days). As I developed my skills, feel, taste and ear I started to realize certain necks work better for my style. When you can't play, these just are not things you have a feel for. My advise it to buy a used guitar, have someone that knows what they are doing help in the evaluation before you commit to it (i.e. make sure it isn't too difficult to play and doesn't have a warped neck). Learn some basics on it, likley for a year or two and then go shopping again once you have a better feel for the dynamics of it all. I bought 4 Tanglewoods all for $250 or less sight unseen. The only one I didn't care for was becuase it sounded Thin, the playbility was perfectitly acceptable...as were all of them and that one (which I bought for under $100, would absolutly work for a beginner and even intermediate player that isn't a tone junky (I sold it to a friend that has been playing for over 20 years). Ignore acoustic guitars with electrioncs, they will be garbage at the price point you are looking at and just an added cost. As for the make sure it has a case argument, again I challenge that notion as well. If you are just playing it at home getting started you don't want to be stashing that thing away in a case necessarily. I leave my Tanglewood out on a cheap stand so I can grab it and play for a few minutes and put it back. If I really want to play for a while I'm pulling out a $2000+ instrument out of a case. When you learn you want it accessable. Now if plan to take it out of the house as you first start, sure get a cheap case. I've heard Guitar Center has a pretty good Used Guitar Return policy (where you could find a used one in another state and have it shipped to you and then returned to a local store), or at least that is how it was a few years ago. Might consider looking into the ins and outs of that. And with that, have a friend that has played for at least 10 years make the call if it is good enough to start on once in hand.

You are absolutly right. I just added it to 12 track mix on each track as the default settings. The max peak via the master bus changed by 0.6 db. (turring the effects on and off through the same passages via the FX button) I think I had a buss compressor on with my previous test. I would agree that the NLS or even ProChannel way of changing settings would be ideal. But I do like what it is doing when setting it subtly.

Not when it is actually a problem with the way S1 designed the GUI handeling. They were not passing the buck. My initial testing suggested that it wasn't added actual db increased but only percieved output (similar to what happens with a compressor/limiter). Of course this depends on the actual settings in the plugin you use, but what ever I was doing was not increaseing actual output by any obvious db measure...though it did sound louder (more saturation clearly added). Of course you can actually incause the db output by increaseing the input knob in the plugin.

If that is what it looks like in S1 then, yes, it looks horrible. Looks beautiful in the DAW that matters though, Cakewalk. 😁

Just tried them out on a couple tracks. 100% worth the install!

Anyone have issues getting the liscence from AudioDeluxe? I've order a fair amount from them, but don't recall having to wait a few hours for processing on a weekday. Looking forward to this, love the note they have about the authorization process, will look at their other offerings if this one sounds good. Would love to replace my WAVES NLS with something like this given the authorization methods.

I'm working under the assumption that someone buying a month of plugins hasn't been mixing for decades. If the market is a band that just needs a sort term solution for a current project, they likley don't have the experince to do a full project quickly, do it well enough quickly to commit to tape, may very likley need more time and want to revisit over time, as this probably isn't their full time thing. I've been recording for over 20 years and anything I've recorded more than a couple years ago I still think...I bet I could make it sound better today. Not to metion I'd never commit effects to stems as my intended storage state. Sure I might include that as part of the package, but no way would I want to imprint something that I can do better in the future to such a format. Add to this the notion of being given lets say 20 plugins you have absolutly no experince with prevoiusly and say...mix an album in a month, sounds like a disaster waiting to happen for anyone less than an absolute professional to me. A month sounds like a long time, but few people want to mix for hours a day every day. I wrecked plenty of recordings over the years by doing such a thing (too much reverb or the wrong style of compression come to mind). Think about how much better ...And Justice For All would sound if the band had the sources and decided to actually remix and re-master it given access to un alterned orignal recordings ok, and a lack of spite for one band member. (just one clear example that came to mind).

Places like Waves let you test drive for "x" period of time, so that becoemes a free option under such a scenario. I can't imagine many users would find a lot of value to subscribe and use for a single month and then not be able to tweak and mix with them again (i.e. needing to start from scratch or completely commit to the steam mixdown). I could see a band paying for a couple months to mix/master after doing the in home recording. But just doesn't seem like a large market or a money making opportunity if that is what the company is going after. Who knows, a $300 plugin also doesn't have a real market these days in my mind either...which they seem to also offer. 😂

Certainly Look cool. But without something really unique like a Binson, not sure I'd get a lot of use out of them after getting Boz's delay for $30.

Not for free. JamStix is what I use. Far more complex than Garageband's "Drummer" though.

The real question is if "in the box" amp simulation works for you. If the answer is yes, then it offers a bump in experience and quality for that specific funtion. As for me, Amplitude just isn't a good enough experience, marginal improvements don't get it there. Price in my book is too steap for what it provides if you have an interface already, from my perspective.

Pay a minimum of $25 in one single payment and you get all the software in that bundle. Yes, installed and authorized SF12 pro on two machines from this deal, after adding the serial number they give you to my Magix account. It works.

I just wish the polyphonic audio worked better. Given the cost of Studio 4, I still have to spend a lot of time in the PRV making fairly major adjustments even on sources that are not that complex. Agree that Editor is the upgrade that starts taking the package to the next level though. I personally don't use the tool nearly as much as I should, if it provided "perfect" audio to Midi translation, I'd use it all the time.