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Tommy Byrnes

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About Tommy Byrnes

  • Birthday 11/13/1960

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  1. Tommy Byrnes

    PA Mega Sale

    The TE-100 Followed by Waves MV2 is an inspiring combo on bass. I usually duplicate the bass track, HPF one and LPF the other, both at around 300 Hz. A bit of compression on each to level them some and then send both to an AUX track along with the DI (if there is one). This way I've got control over the low end and the high end and can blend them into the AUX track. The bass AUX has the TE and MV2. Doesn't matter the style, it makes the bass sound amazing.
  2. I did the exact thing a few months back with the WUP sale.
  3. Tommy Byrnes

    PA Mega Sale

    What it does to bass is truly amazing. I never mix without it.
  4. I've found the best way to deal with UAD plugin problems like this, and many other VST problems as well, is to make sure I only have one VST2 folder location, which for me is Cakewalk\VST Plugins. Have the VSTScan only scan that one folder. I've always used that location, no matter the DAW just because I've been doing it since the early Sonar days. VST3 defaults to its normal place (C:\Program Files\Common Files\VST3). I copy (don't cut) the dll for the plugin I own from the main UAD Powered Plugins folder and paste them into a new UAD Plugins folder in my main VST2 folder and there they stay, unaffected, unless I buy an update for one of them or there are fixes to specific plugins. This way the VST folder and their contents aren't changed and there aren't all the UAD plugins to scan, just the ones you own. Just don't scan the normal UAD folder and you're good. Keep the UAD Powered Plugins folder intact because Console uses that location to load the plugins. I hope this helps. (edited for a stupid spelling error)
  5. With the $25 voucher and the sale price at $49 I was able to get the new API preamp for $25, which is ridiculous. I wanted either this one or the Neve preamp for Unison tracking and to drop it on the inputs coming from ADAT and other sources into Console when I'm tracking bigger sessions. Sounds great and just what I needed, a pre without EQ or compression. Very low SHARC usage, which is nice. I think if you have the now "old" Vision strip the upgrade for the API preamp is $49. Best UAD deal I've ever got!
  6. This lives as my Room Verb in every project. Puts everything in a wonderful space and adds cohesion. The plates are great and the chambers are good as well. I really love this plugin.
  7. Also a very good idea, although it's still an inconvenience to freeze and unfreeze tracks. Still, I'll do this often with CPU-heavy plugins like CLA Mixhub, which sounds great but is another cycle-gobbler, and the Lindell 80 Series with 8 times oversampling. The 80 Series is really good. Also, the UAD SSL400, Helios and other Unison plugins end up getting bounced because they gobble SHARCs.
  8. Yep, using an Apollo interface, which lets me print the UAD effects during recording.
  9. I do that as well with several different ones. Along with the IK Tape Machines I use the Waves J37 and Kramer Tape (both are also wonderful as a tape delay), Softube Tape, UAD Ampex ATR-102 and a couple of others. They all have different flavors though the UAD feels the most like real tape. The idea of recreating an analog recording chain in the box is to use a tape sim on each track or bus/aux track/sub-group along with console/preamp/hardware emulations. The results can be striking if the tracks are gain-staged properly with the right input-output levels going into each plugin and then hitting the tape as one would with a real deck. I've been mixing a reggae/roots rock record that the band tracked in my studio. We did most of the tracking live through UAD Apollo console emulations (mostly the Helios 69 and the SSL. The Helios is a gem) and recorded through the plugins into CbB. We're recreating the chain during mixdown with a tape sim at the end of the chain, like going from a desk to the tape machine. It sounds wicked good. That said, it is also easy to ruin a mix pretty quick if not used judiciously.
  10. I've used the Tape Echo for years and it's probably the first delay I reach for. It is easy on the CPU for sure and is so creamy and yummy. I put a UAD Ampex ATR-102 on the 2-Bus on every mix, which really sounds great and feels like pushing signal into tape. I have a bunch of other tape emulations for tracks or busses but I would love to be able to use the IK Tape Machines in a more universal way and on more tracks because they do sound wicked good. It would be great if IK addresses the CPU usage and brings them in line with other tape emulations, like Softube Tape and others.
  11. The Tape Machines are not very useful as they crush CPU cycles into dust. If they were efficient they would get used all the time but they're too hungry for regular use. Having a Studer multi-track that can't be inserted on more than one or two tracks before dropout is silly. They do sound really good, though. I grabbed them all during the group buy last year and really want to use them more but the furnace can't burn enough coal for them to run.
  12. I usually take a VU meter and start at the top of the FX bin to set the input signal. Then, after each plugin is added to the bin I just move the VU down below it and set the output of that plugin to match the input signal. It means the level going into the next plugin is at the proper level and the output of the plugin feeds the next at the same level. It takes almost no time to do this. As an aside, the gain knob at the top of each track and bus is one of the great features in CbB. I use it to make sure the input level is correct right at the start before anything is added. Gain staging is a fairly easy process and makes a big difference in how plugins operate, especially emulations that have a digital "sweet spot" that corresponds with the hardware.
  13. I got this some two years ago from a Musician's Friend "oops" SDOTT posting for $25. I'm mixing a hip hop track that has an E-Bow in it (of all things) that's used like a pad. Portal made it so groovy none of us could help but just laugh. It's fun and cool and finds it's place here and there. It wouldn't have for $104.
  14. I went ahead and WUP-ed it up. I've never WUP-ed before. When I checked my Waves products there were a fair bit that were v9 and over 8 years old. I checked the release notes back a ways and there were enough updates over the years to make it seem a worthwhile investment. Plus, with all of the plugins updated to v12 they will all work in Studio Rack, which is a pretty cool and useful tool. Personally, I keep all of my licenses that don't require an iLok on a USB flash drive, including Waves. I have all the same plugins installed in my remote laptop rig and I just plug in the USB drive and/or the iLok and everything works fine. So, it cost $185 and change to update 76 plugins to v12 so I feel it was worth it. Plus, only one waveshell
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