Tommy Byrnes

I had a similar experience with the Ultralite and customer service around the same time. I won't go into all the details but it was such a problem I wrote a letter to the president of MOTU. MOTU and I reside in MA. I mailed it on Friday and on Monday morning I got a call from his wife and the company's CEO. We spent two hours on the phone, discussing what MOTU could do better (Windows drivers and tech support, for starters), our kids, her amazing Marine Corps dad, the plans for the company, etc. Within weeks they revamped their customer service protocols and vastly improved their Windows drivers. We have since become friends and regularly chat. She's sent me products to try out and keeps in touch. MOTU gave lots of money to a benefit music festival I used to run before Covid. MOTU has a very loyal customer and I recommend their products to my clients and students over Focusrite and others. And their products are wicked good, as we would say. My little interface for travel and teaching is the M2. Kills the Scarlett 2i2. Drivers are rock solid, excellent converters, mic pres are actually OK and it's built really well.

When Gibson did the knife in the heart thing I moved briefly to Studio One before the CbB era. One of the things I missed most was the Plugin Manager in Cakewalk. I would be lost without its versatility. Here is how I have my plugins laid out. I have several custom menus, which I couldn't do in S1.

You're probably right, David. I just ran out of time. I did run it and it did show the files I needed as orphaned so I just went to the folder and imported the files I needed into a new project.

I bit the bullet and went through the project audio folder, took the correct files and just rebuilt the project. There were four full band takes so making sure each track corresponed to the right take was a bit of a pain but it's back and running, just in time for my clients to get here. That was a close call! Thanks for the help, folks. I'll have eagle eyes on what the heck I'm doing from now on.

Everything is on the dedicated projects/audio drive. It was a long session and I was pooped at the end of a crazy long day so I really don't know what I did. Nothing got moved as far as I know. This is great advice but I am trying to re-associate the files and not remove them. What I'm wondering is ifthe actual project file got deleted somehow and left behind the audio files. Yet, there is a project file with the right song name but the wrong audio. What a mess!

Hi folks, I'm having a problem that I've never experienced before. I finished up sessions with my client this past weekend and when I went to open one of the songs this morning it opened a completely different song. I've checked the audio files folder and the correct files with the correct project title are in there but the Cakewalk project file is associated with another tune and will not open the correct audio files. I tried to import the tracks into a new project but of course it imported each file to its own track. This is mostly laying down live drums with several takes so trying to sort it out manually seems impossible, given the number of tracks, which was over 150 when each clip was imported. Yikes! The stuff of nightmares! So, how do I get the project to recognize the correct audio files that go with the project and not point to a completely different song? I'm sure I messed something up but I can't seem to find what I did. It's a real poser and I've been at it for a couple of hours without any luck. The band is back in this weekend and I need to suss this out before they come in. Redoing the tune is not going to go over well and not really an option. As always, thanks for the help. Cheers, Tommy

I really wanted to like this more than I do. It's kind of fun but I'm just not crazy about the sound of the verb.

They had the Master HD on sale a month ago for $29 and it's about the best software purchase I've made in a very long time. I love the controller. It's so nice to have a tactile interaction with the plugin. And, now I cannot live without it. Hands down the best multi-band processor I've used and it now lives in an ever growing number of templates. My Sweetwater guy knows to use the Emergency Broadcast System to tell me when the Brickwall HD comes up for sale. If this reverb is on par with the Master HD I'm all in!

I have to agree. I've been down this rabbit hole for hours. It feels real. I got Capture as well so I'm looking forward to modelling my amps. I know my clients will love this!

Thanks, Peter. I figured as much but I wanted to double-check. Looking forward to using Capture with Tonex!

I enjoyed this. Peter, I've pre-ordered Capture and have it ready to go except for one thing. I've contacted tech support twice with no response. Do you know what cables are needed? Do you use speaker cables, standard TS cables, balanced TRS cables? I'm excited to use it to it's potential but I don't want to blow up my amp! Thanks!

This is wicked cool. The possibilities are pretty endless. StudioRack is a great tool for setting up custom multi-band, parallel and series splits.

Me too. I must say, I'm pretty impressed with it. I had raw tracks from a mix I haven't started yet and threw the AMEK on all the tracks. It sounds great! I love the limiter in the Dynamics section. I don't know if it was on the actual console but man, does it help on drum and bass tracks!

A really nice piece of kit for a tenner.

I love the TG Mastering plugin. The EQ is a nice Curve Bender and the other modules are really useful. It's almost always on my 2 Bus but it's great on just about anything. It comes with a Live version which uses a bit less CPU.

I just renovated my studio. Even Larry can't get an extra nickel out of me now.

I just hope it's not UAD 3 and all of our hardware becomes obsolete

You can use quick grouping. Ctrl+A, hold Ctrl and click on the On/Off button.

I've wanted the Curve Bender for a while until I realized I had it in the Waves AR TG Mastering chain. It's the EQ section. I almost always have this on the Master bus and often only use the EQ. It's a very nice sounding plugin and it's considerably less expensive. If someone owns both I would love to know what you think.

I once did a session where I was playing bodhran (Irish hand drum) and the engineer put a u87 on the drum. I told him that was probably too much mic and to use a 57. The producer told me the dude knew what he was doing so we cut the take and the producer hated it. Stuck a 57 on it, laid the track, everyone smiled and that was that.

Definitely off the OP (sorry) but an old philosophy about mics I try to adhere to has remained pretty much the same for a very long time. Make sure I have the mics on hand I'd require to run a typical session and get to know them really, really well. I personally don't have the need for 18 choices of kick drum mics or "The famous mic that captured Dean Martin puking in the corner during a Sinatra session at Capitol" mic or its clone. Though I bet it sounds cherry. I have LDCs for the jobs I need them for. 4 good quality but not super expensive LDCs with different characters for addressing different vocalists, instruments, etc. One good tube LDC and one good ribbon. I have enough mics for drums to do a standard kit along with two pairs of SDCs for overheads or stereo miking of acoustic instruments. And two 421s and four 57s, some of which miked amps on the road for years and still do the job. It's taken me decades to build up the mics I have. The whole locker is probably worth around a pair of u87s. The collecting of gear for the sake of having a locker crammed with 60 year old microphones of every flavor and color has also never been in the budget. It is a selling point for major commercial studios who can boast that sort of inventory to correspond with their history but I don't own one and have only occasionally worked in one. ? As a working musician/studio owner the budget rarely calls for boutique purchases, especially when what I have can do the job. There are a million videos of studio tours and they'll get to the mic locker and pull out all these mics that they never use but they have because they're old or worse, rare! I once saw a picture of the inside of Joe Perry's guitar warehouse. Hundreds of guitars from floor to ceiling he just bought and put in this huge place. Almost none of them will ever get played or even see the light of day again. That really affected me and kinda bummed me out, like seeing caged animals in a zoo. Plugins, on the other hand, are a problem. I blame Larry for that.

This is an extremely good compressor. For a tenner it's a must have.

It's good. Different animal than Sat-X. If you have it, put it before the SSL Channel Strip as that doesn't emulate the input transformers (at least I don't think so as the input gain doesn't introduce harmonics) and Bob's yer uncle. Wide range of very usable saturation.

My original OP was about normal Dim Solo. Dim solo a track and all other tracks are lowered in volume by the specified amount. It's always worked the times I've used it until the latest update. I don't use patch points so I'm not sure about double dimming with them.