Brian Walton

It is unless you are buying something at the $40+ point, then you get an extra buck off. Still seems pretty generious to me given the sale items that are up. Lots to be had at that $40 point or combining cheaper stuff to get to $40 (then having to spend $19 to get them). But you are correct, no freebies unlike the last 3.

Glad you picked it up, I actually thought about posting that for that glassy clean tone, the ODS plugin is the best I've heard. Everyone seems focused on the ODS dirt, but I don't care about it. The clean on the other hand is as good as it gets and I think they did a fine job with it. I've played through a couple real Dumbles (not the FUCHS) and I have an Ethos Overdrive that I only use the clean channel for on my board. Mostly due to more advanced cab simulation, I'd give the nod to the plugin for recording direct tone. The Ethos is a bit more dynamic volume/response wise at least in my setup. The ODS is a little more forgiving (like a light compressor is on). Honestly makes recording easier for me right now as I haven't been playing guitar like I used to. Hopefully you can get that Wicked Game tone out of it

Given the 3 voucher resets for PA for the sale going on until end of today.....I'm guessing all the other vendors are just scared to even compete at this point.

I haven't used it. But certainly curious about it after testing out The two Fuchs amp simps and putting some reverb, etc on there However, within a DAW if you are Using Cakewalk, why not just setup track templates that have the amp and any other effects in the chain you want to use and save that as "clean lead tone." Outside of any MIDI switching that Gig Performer might offer, the idea of getting preset "rigs" is a free function within Cakewalk. I'm imagining GIg Performer shining as a standalone program that can reduce latency and offer seemless switching between things.

It isn't a quote from me....it is a quote from the guy that played the Wicked Game part. Great tool, but honestly I think they are overkill for most people other than studio musicians. A friend of mine happens to be long time friends with him and loves playing that part. With a decent Strat and good fingers you can get that general tone out of some pretty inexpensive fender amps and some pedals.

I'd suggest emailing customer support. They will have the time stamps and should be able to reset it for you...since the reset happened yesterday. Deals are too good to pass up on this one. Hoping for a another reset here. ?

Yeah, the "Express like" Fuchs isn't for that. The Trainwreck Rocket is at least closer, but an old Fender Deluxe with heavy compression is more the style for that: https://www.fractalaudio.com/hershel-yatovitz/ The key component of the “Wicked Game” tone is lush delay and reverb. It’s remarkably lush and very organic in a clean way – not too washed out. The clarity of the reverb in the Axe-Fx is really nice – you can use a lot of it without losing the note content. To dial that one in, I start with a clean boost with a treble boost into a multi-band compressor which gives a very transparent compression compared to a stomp box. From there it’s into a volume pedal to a stereo delay and hall reverb. For the amps, I use two Twin Reverbs with the bright switches on. Use the middle and neck pickups of a Strat-style guitar for that out-of-phase sound. Secret revealed. The original recording is a Strat into a ’64 Fender Deluxe Reverb. It’s a very layered sound, comped from different takes. There are multiple tracks ringing simultaneously, cross-fading multiple parts with the delay added in post.

I have a few pairs of the Westones TRU 16 TRU 25 And the cheaper WR20s I've also tried the Etymotic Research ER20 (but no longer use them) Hi-fi is certainly a bit of a streatch but if you put these in your ears and can't tell a quality difference between these and the straight foam style then your hearing is shot beyond all hope. You can't expect a flat response or what your naked ears sound like. But I'll take that modified version over hearing loss personally. You have to get used to them and you can never really trust fine tone tweaks with them. Honeslty you need something like the Westone custom molded ones. While they use the same filter as the TRU lineup, having a consistant seal and fit really helps you get the same type of results each time and that you can start to learn to adjust for. The stick in your ear tips kind will have different levels of attenuation simply based on how you insert them in the canal each time and that itself is annoying.

I think this comes down to how you use reverb. I have both and find they are quite different if you are really adding reverb. R4 is color where Phoenix is transparent. If you barely add either they will seem similar enough.

I'd go through this playlist. The plugin boutique course (i.e. Producer Guide) is good also (which I'm not sure if it has been updated with the 2.2 features, I'm thinking it is outdated as it was released right at the time 2.0 came on the scene), but there really is plenty for Free to get started by one of the Co-Devs on the project.

Depends on other plugs you already have. I've personally never been a big fan of the SSL G (from anyone, not just PA) Townhouse is a worthy addition if you don't have a good SSL bus compressor as I think you can use it on just about any project. That said, it isn't worlds different than some of the others, just a different flavor. If you didn't get IK's One for Free, or have Izotope Ozone - I'd think Masterdesk would be a valuable tool.

Quite a few really good deals. Need more vouchers, one just isn't' cutting it. ?

I have EZ Keys as well and have used it a bit. I find the interface a bit clunky by comparison (not to mention it really needs a scalable GUI). You can also use the two products in tandem. Create a basic chord progression in Scaler, then drag those midi files into EZ Keys and apply the "style" to those files. Then export that midi.

Scaler 2 update from Scaler 1. Great value which has seen more updates. No other plug-in or gear purchase has made me want to create music like that one has. Lots of other cool sound manipulation tools but nothing has held a candle to Scaler for inspiration and just wanting to create something.

There are some UI changes (especially on the EQ section) from what I recall. I switched to 9 a while ago and haven't looked back, but it isn't an "upgrade" I would have paid for personally.

Indeed it is. I forgot to mention I also use Boz's mongoose and pan knob I find that helps with the whole headphone mix thing.

Check out the Toneboosters version, it doesn't do the room acoustic part, but it does the eq compensation for a fairly nice list of cans. Demo is free, and the amount of the effect can be adjusted, which I like as I don't usually want 100% compensation bringing the curve to actual flat. https://www.toneboosters.com/tb_morphit_v1.html As someone that owns a few of the cans on the list...way more cost effective solution.

https://bedroomproducersblog.com/free-vst-plugins/bpb-saturator/ BPB Saturator is a freeware saturation effect for Windows and macOS. It uses waveshaping to simulate tube and tape saturation. The plugin also features a pair of transparent filters. We wanted to create a saturation tool that is lightweight and easy to use. Emulate a tube preamp by applying a bit of tube saturation, then simulate passing your audio through a tape machine with a bit of tape saturation. Or, go crazy and boost the input to use BPB saturator as a dual distortion effect. BPB Saturator is the more nuanced follow-up to our BPB Dirty Filter plugin. Whereas BPB Dirty Filter excels at over-the-top distorted sounds with plenty of filter resonance, BPB Saturator can deliver a far more subtle form of saturation. BPB Saturator is available in VST, VST3, AU, and AAX plugin formats for digital audio workstations on PC and Mac. Both 32-bit and 64-bit plugin hosts are supported. Features: High-pass filter (20 Hz – 20 kHz). Low-pass filter (20 Hz – 20 kHz). Tube saturation. Tape saturation. Input volume (±12 dB). Output volume (±12 dB). Available for Windows & macOS. 32-bit & 64-bit compatible. VST2/VST3/AU/AAX plugin formats. Demo video: https://youtu.be/XzOkuHqpHB4 Product page: https://bedroomproducersblog.c...

Probably needed this like a hole in my head....but the other plugin I do use on every project - True Iron - is amazing and I support the "no stupid authorization scheme" of this developer....so $5 spent.

My 2.9.8 player isn't updating via the "check for updates" method.

I think this was posted a while back as I already have it. A no-brainer here. Small footprint, no crazy authorization scheme, sounds great, works on modern (and old) resoltion setups and FREE.

+1 Reverb from last year was fantastic....expectations are high here.

Without going to far down the rabbit hole here....there were 3 Trainwreck amps. Express Liverpool Rocket The express is what most people associate with Trainwreck. The designer, Ken Fischer didn't even like that amp....but everyone kept asking for high gain (this was the 80s) and so he made them. The Rocket was the only amp he kept for himself and the one he kept he nicknamed reality check, and he would use it as a bench mark for amps he would make. It is a much lower gain, much more dynamic and unforgiving amp. It also sounds far better. I've played all 3 and there is no comparision, it is honeslty a shame his legacy is tied to the Express as it isnt' anywhere close to the best amp he built. The liverpool is kind of a middle ground compromise between the two. The Z-Wreck was a Ken Fischer design that he shared with Dr. Z. It isn't a high gain "express" design. It is closer to the ball park of a Rocket, but doesn't require the same level of part tolerences and ear to build. The PA Fuchs Train is Express Territory, which again isn't want Ken wanted, but now what the average person associates with Trainwreck. So yes, the Fuchs is much more "express" if that is what you are looking for. However, I also personally think the Fuch's isn't the Trainwreck sound....Kenny and Trainwreck were synomyous...and that isnt' the sound Kenny loved. He only built 5 Rockets....and something along the lines of a couple hundred Express.

The FLAT WHITE theme from Colin as I've noted in the original thread is one of my favories. This is a fantastic "mod" of that theme to give something diffierent, but similar. Thanks for sharing it!

I can confirm it seemed to fix the resolution issue as stated on my machine...great news. As for the dialog on "best amp sim" in the box. This new AT5 is the only one I've tried that I expect to actually use on productions. Not all the amps are equal, so it can depend on what you have and the sound you are after. The Z-wreck with matching cab is my go-to amp and it is quite sensitve to setup/gain staging so you have to get that right. I can even run boutique pedals into the input before my interface and it takes them about as well as I'd expect software to take them. I sent an example of myself playing through it to a friend that owns the best Trainwreck Amp ever made (long story) without telling him how I recorded it or was getting the tone. His comments were favorable that it kind of sounded like a Wreck, and he is an expert on that subject. Now it doesn't sound like his amp, it doesn't respond like his amp, it does not have anywhere close to the harmonic richness of the amp, but honestly in a mix it is surprisingly good...good enough to actually use when you don't own a priceless amp and want to record at really low volumes without an amp. I'm normally against non-hardware options for amp simulation, but this is the first one that will actually make it into my workflow sometimes if that means anything. But like I said, not all the amps and combinations are "equal" it takes an ear and some know how to get good tone, but I can say it is possible with this software.