Brian Walton

Yes, and if you wup, you get the same 20 year old plugins.

Windows user and had plugins break going from V9 to v10. Have also had v14 break a specific plugin. No longer install Waves and lead a more stress free life as a result. The only plugin that kept me tied was clarityvx, but supertone clear helped me cut the cord.

Mcenter was a free give away at launch.

The turbo reverbLE is something special in the sense that I'm not sure anything else has as much under one roof. If I could only have one algo reverb this would be it for the combo of versatility, sound quality and general CPU consumption. I don't care for the layout of mdelay but there is quite a bit in there to. Mlimiter is usable and more straightforward than most melda plugins.

Yes, those are all massive exceptions who basically worked out of a places that pumped artists in. The fraction of 1% that were in such a spot (and deservedly so). But even so, I'd bet most of them were also not working 40 hours a week year after year doing it. There would be pockets of time they might be doing that much, but even studios tend to have a lot of downtime where someone isn't working on their craft all day long. Same with the notion that full time guitar players play 8 hours a day - that only last so long. In fact, when you here the stories of Satch or Vai having those "practice routines" of playing that much in the early years of development - it is always in the context of how crazy that is.

If they were actually trying to write songs during this time, then yes. But most can't keep up with a 40+ hour dedicated work week actually proactively doing both.

Never once met a songwriter that actually works 40+ hours a week, every week, for years on songwriting.

I'm an IT professional and I can think of quite a few performance and security reasons to keep your DAW offline all the time, except when doing a controlled update. Avoiding dodgy sites is only one component of the risk and performance aspect. This isn't practical for a lot of people but if the work and performance is critical, I can't imagine taking the risk and letting background processes communicate with the Internet whenever it feels like it. I would agree that an up to date OS is safer to go on line than it used to be.

Most specialty back pain chairs cost far more than an Aeron though. Because of the build quality and resale value the Aeron (if you get the right model) is still a decent choice for most people. Same as buying the Rolex. There are better out there and cheaper, but almost ironically you can sell the thing in 10 years with use and get back the majority of what you paid for it. I wouldn't by an Aeron new, but there is a large range of prices one can get them for used. $40 - close to retail. I do agree with the advice if someone legitimately has a back problem go the real ergonomic route, but also don't come away paying $300 for a chair. Most at going to cost 2x-4x an Aeron. The $300 chair that is just as ergonomic absolutely exists, but most of the specialty shops are not going to sell it because there isn't' enough meat on the bone for them to stay in business selling them to locals that are coming in for a custom fitting.

Yeah, for modeling they are pretty good. That said, the Milkman, Benson, etc are not my dream amps. And also have good captures of them or similar in ToneX. ToneX is arguably more work to get a perfected sound though and I can understand why some don't want to go down that path. Other negatives are ilok, price, and no hardware option. With the Tonex pedal ~2ms confirmed throughput delay simply beats the feel I can personally get in a software based system without dedicating said computer to only that task and run it into another computer - which then by nature adds latency.

It is still $35, and the only reason it is legacy is they are updating it for the new ecosystem which is supposedly included in the price. And it was on sale for like $40-50 frequently from what I recall - so even a year out the price hasn't really dropped that much. Either way, hard to get excited about any of it with ToneX on the market. Honestly the only thing that peaks my interest is the Komet sims as I'm simply curious how they have approached some of the best boutique amps out there - which are sorely lacking in the ToneX world.

I've been wondering the same with a new computer build I've been doing. Hit a road block when that installer basically doesn't exist. Terrible practice.

I haven't had any issues yet and it seems like I've been running some version of v17 for a month on multiple computers. That said, the new installer doesn't allow the full off-line install stuff unless they changed something in the last week or so. Was told previously adding that back in was in the works.

Tone Junkie, the Studio Rats and Chop Tones all have twin reverb captures for Tonex. And there are also free captures of twins. Think nembrini should focus on more boutique things to stay relevant. At some point the people buying to complete the collection in this economy will die off.

I've bought handmade fuzz pedals in this price range before. Curious who is paying that much for an ITB emulation.

The product is an actual tape deck not an emulation. But as for tape emulation these days it is no different than a tube guitar amp emulation. Even if someone has never owned a tube amp a super accurate recreation of it is going to sound and feel good to the player because it is enheriting those pleasing characteristics. Accurate tape emulation is the same thing, just even more subtle.

The ToneX one is really only designed for A/B switching. Yes, it can store 20 on there, but it is a nightmare to use that in some meaningful way. If you only need to switch between two settings, it is fantastic. If you want to store and use presets, the big one is the way to go. The AXE IO ONE is a fairly new offering and yes, it offers quite a bit at the price, including amp capture abilities which is likely the only interface on the market at that price with that..

NAM is rather resource hungry which isn't something you want in a real time effect as the most accurate feel is at the lowest latency possible. More captures in Tonex platform. An ecosystem that isn't strictly tied to a computer with very affordable pedals.

It sounds and feels a whole lot more like a real amp. You can still use it within at5 to add in effects. Once you have a collection of profiles you like - you many never use AT5 amps again. There is a lot of free stuff on tonenet and with some 3rd party providers to get started with.

No, it isn't modeling technology and it is the only amp in a box worth buying.

It isn't the worst program, but they have a long way to go to make the UI and experience like Capture One. I don't think they will ever get there. I personally think they need a lite version that responds better and focuses on making the tools a joy to use. It is far too clunky. GIMP is the solid free choice for individuals truly averse to paying anything. But honestly, I'm of the mindset that if you are going to dedicate the time to learn the tools (which is substantial), a 50% off of Affinity Photo is money well spent to have a more enjoyable user experience for the many hours one is going to sit in front of that program not only to learn it but to really use it.

My problem is more to do with the UI and some of the organization of tools. It is like saying dark table is powerful...it is but a chore to use.

Affinity photo at 50% off ftw. Gimp is powerful but painful to use

Yes one LD overhead and bass drum as the core. Then add snare, and if going to 4 mics add the side overhead condenser on the "ride" side of the set.

With the strip you can also send the drums to a bus and just used it as a master effect on all of it. Just messing around with it a bit I felt like I could get some pretty good drum sounds that way as long as each piece was reasonably well recorded. I also work with a 3-4 mic drum setup most of the time and find that achieves what I'm looking for better than a "mic everything" approach.