Brian Walton

Premire Pro was my primary NLE, I've done hundreds of hours of projects on it. I own Vegas, oddly I found the "other way of doing things" to be the mode of operation for Vegas DaVinci is the I use it as long as I'm using a PC that is capable of running it software. I found it is more in line with the way Premere Pro operates than Vegas, though all of these programs you have to look up "how to" on a number of things. Haven't tried Hit Film recently but I was suprised at the operating requirements of their Photo RAW processor software, wouldn't even run on one of my machines that I have ALL of the other market leaders on (Capture One, Lightroom, Luminar, On1 RAW, Darktable, Rawtherapee) This alone gives me some reservation for anyone that isn't using the latest machine.

Amazing list, but clearly missing a few well known top tier free options Fxpansion DCAM Free Comp Jamstix - free version come to mind as examples, but way more stuff on that list that I didn't know about.

If you need to add special effects to your projections this is a pretty good deal. Outside of that, I personally don't see the value if you are happy with Vegas 14. And if you are not happy with Vegas 14, Davinci Resolve for Free is where I'd be looking first.

Interesting workaround. Agree that we need an integrated solution, seems like such an obvious and "easy" update to make.

One of only a few boz plugs I don't actually have.

Many people (including myself) would say they use it basically as a multi-track tape recorder.....but then use something that utilizes virtual instruments on the occasional project....but they play a MIDI keyboard as though it was producing audio. That is, they don't go back in and do a bunch of midi-editing on the piano roll. The idea you would have access to ADII as a platinum owner and then only use an Alesis SR makes me cringe a little on the inside. ☹️ I also didn't mention anything related to distorted guitars. Every tool I mentioned could be used on a traditional country track, though "Strum" I wouldn't think to use as I guitar player I don't find it sounds that authentic.

Agree on all fronts. Sounds like some magic sauce pretty easily, though CUP intensive. Regretting not getting the CEIL last year, I remember seeing the offer and thinking I probably don't need that. Not realizing the quality of work they are doing.

Complete pain to get it authorized....but 100% worth it. 5 activation limit is also appreciated.

Good deal on the packs. The usefulness/re-usablity will depend on your approach and the packs. If you just use them "as is" without tweaks and using them in the pre-defined intro, verse, chorus, bridge then it becomes quite obvious when some of the packs are used. That being said, I've made some tracks I'm happy with after putting my own parts on top of them.

The main things in my mind are the LP-EQ, Comp, Adaptive Limiter but if you have full Ozone you might not miss them. Others might use the BlueTubes "suite" that comes with Plat, but I found that I basically never used them, outside of messsing round with the De-Esser until I found other plugs that worked better for me. Then there are the instruments, AAS LIzard, Analog, Strum and True Pianos or the other Synth type of things that come in the box. These might not be used by you. The fact that you didn't need to install SPlat speaks pretty highly of the Bandlab version. I could likely get away with the same, but only becuase I have the AAS and True Pianos, along with the LP-EQ and Comp that work outside of Sonar. Adaptive LImiter I would miss even though I do have alternatives from Izotope, Boz, Limiter-6 as well as others. It is a "go to" many times for me, even with such formatible alternatives.

I haven't found a single reverb plugin that really does it all, so it sounds like you are not a reverb junkie. That being said, hard to know as you haven't listed what you have. If you need to add something that is more on the creative end, this might be a good one to add. The marketing material suggests it can also do more subtle more normal style reverbs as well. I do agree with your notion that the best tool we have is to really learn how to use a particular reverb, it isn't an easy effect to really master, IMO.

Haven't used it but at an almost 14gig size I'd hope it is in a different class!

For the sounds, I like AAS a lot better. I use EZ for the brain and output the sound to AAS.

The actual title is aptly named. But hat doesn't prove your point at all. Over saturated tone is being EQ'd by the speakers/cabinet. Any competent guitarist knows this. The amp and settings itself is fundamental in getting good tone out of either speaker. Did he massively alter the amp settings to compensate for the EQ curve differences in the amp? He didn't, and I'd argue the tone itself was fairly equal between the two examples, just different. Tone can be judged on quality of the sound, and honestly the tone in the video is not very good in any of the examples. Try the same test with amps setup properly to produce good dynamic tone with a solid fundamental through the same speaker and you can start to hear which amp is more dynamic and rich in tonal complexity. No argument that the speaker matters in the EQuing of the tone shape and the overall quality of the tone, but it isn't the #1 driver for quality. If you are dealing with horrible metal tone, then yeah, I'd put more emphasis on the final EQ and qualities a speaker gives, just like the video demonstrates.

It is a bit of a joke. (though the speaker isn't the #1 contributor to tone either, and I have access to the holy grails of all guitar speakers. Pre Rolla 30 green back Celestions picked out by Ken Fischer himself) However, I stand by the statement that the gear itself is basically irrelevant in what Joe is bringing to the table.

If you think Marshall made better amps than Trainwreck, I think it is fair to assume you have never actually played one. (and I agree that rare and expensive doesn't equal better, i.e the overrated Dumbles I've played, though some were very good),

$30 wasted on something you won't actually use is $30 wasted on something you won't actually use. Not saying this isn't a good deal, but I'm quite sure that the majority that buy it would have been just as well served with the free DavinciResolve. Thus $30 wasted for the average person. It takes time to learn yet another software program, this inst' something you will get the advanced features out of in a 10 min tutorial. Those that will use the Effects packs, etc it would be $30 that is worthwhile.

Not trying to start a flame war. ANY amp that has more than one channel by design is a tone compromise. Look at the work of Ken Fischer (Jim Marshall used to call him for advice and feedback on tone...think about that for a second). Yes, the Tube Driver was used by many guitarists, just like the terrible sounding TS-9, and there were not very many alternatives at the time. Joe could made a early era Line6 pod sound good and interesting, that doesn't mean it is a tone machine. He also could have said, just model a Line6 digital amp, I can make that sound like me. The Eventide was a digital model built in the 70s, it was state of the art at the time....just like an Apple IIc computer. Do I think it sounds as good as the processors that can be produced today? Absolutely not, nor would it be top tier. Tone is in the hands and Joe isn't bottling that up for our consumption. It does speak volumes that someone of his stature would say, model a DS-1, to get "my sound" The 6100 reissues are easy to get, any "original" of course is a little more difficult to obtain, but again it isn't a holy grail amp either. I could buy one any day of the week if I desired one. The same cannot be said for an original Trainwreck.

Honestly all of it other than perhpas Marshall Super Lead if it is an original and an Echoplex. Someone like Joe has access to all kinds of boutique gear, everything on that list is attainable (or not great in terms of tone) for the average player. Obviously he can make fantastic music with a Squier Strat and a Solid State amp, but when modeling for an artist's gear you tend to want a representatoin of some really good gear as the starting point. Trainwreck, Komet, Two Rock for Amps...effects too many options to list, but Boss, Vox, Dunlop, are not on anyones wishlist other than a beginner.

One of the most interesting, tasteful virtuoso guitar players ever. That being said, most of his "gear" that he has associated with over the years has not been top tier tone machinery. I'm a nobody with access to better gear than what is on this list to "model," and that is kind of sad.

Seems like a good deal on paper, but 99% of people wouldn't actually use the plugin type of stuff that is different than what you get with Davinci Resolve for Free as a editor. A great deal for that 1% though.

One word. LastPass

If they would just add some numbers so I could see what I'm adjusting it would be good. ?

Not worth the risk to your electronics. I'd bet it is just series power in a box, not isolated transformers for each port. Effectively the same thing as a 1 spot in a fancier looking box. I'd just move on.

Do you know what the movie was called? PBS is the only current comic I read with regularity in this post Calvin and Hobbes world (and have for many years). Most of the pun related ones (such as the one in this thread) where Pastis gets hit or deflamed for his lack of humor are the bottom tier of his humor, IMO.