Brian Walton

I own all their albums and have tons of live concerts (I used to collect them). Honestly Pluse is the far better live show "best of" it doesn't suffer from sounding dated, the recording and performance are as good as it gets. The shows from the Delecate Sound of Thunder era, I'd actually argue is more of a stepping stone for the band. It paved the way for the Pulse show, and provided a vehicle for some of the respectable Momentary Sound of Reason (after the completly forgettable "the Final Cut" album and Water's departure). That said, the complete lack of some of the masterpieces like Echoes or Pigs (three different ones) in either show means one has to venture beyond those "best of" to really get a more complete PF experience.

Today is your lucky day: I'd run the trial. At $9 Phoenix is insane. And R2 at $19 if you are more into the traditinal Lexicon stye is also fantastic. Needs ilok (can be computer or ilock 2, or 3 authorize) and you only get one seat per purchase.

Even with the stupid 1 seat authorization on Phoenixverb, that still is a great price. hmm...do I need to buy a 3rd seat?

The TurboEQ might be the best "designed" Melda plugin from a user interface perspective. As they note in their own marketing, it sounds just like other EQs they have, it is just a simplified way of interacting with it that is closer to the classic analog EQ approach. Not sure I can swallow the asking sales price for it though given everything else I have. If it was half the sale price, I'd certainly consider it. TurboCompLE most of us got from Plugin Boutique for like $5. Annoyingly it doesnt' have actual attack and release times, etc. It sounds decent enough, but I tend to think I have better sounding compressors in the tool kit. At $5 totally worth it. Wouldn't have paid the sale price here personally, but I also have quite a few nice comps of different flavors. When you switch between comps the settings and output totally changes, so it isn't like you can A/B just by clicking next down the line....if you could, then I think it would get more love. Haven't really used the reverb as I don't feel like I have any holes in the collection there.

Pink Floyd created this for literally millions of people....Talk to one single person that saw them live that doesn't have that show (or shows) as a strong memory. Honeslty there is no other band I can think of that I think would encompas that statement better than Pink Floyd. They are arguably the greatest combination of Live and Studio band that has ever lived becuase they created those memories and experiences, and they played very well. They could create an overwhelming emotional expereince. People talk about bands like Led Zeppelin, who were also great, but Live they could be just down right bad/sloppy (or great, depending on the night and tour). I don't think anyone had the magic of both like Pink Floyd.

You don't have to like them. But it also sounds like you only listened to a single album of one of the most respected bands that constantly changed their sound (but always soudned like PF). I'd suggest listening to the entire catalog and then come back posing a different question. Since everyone else in the world bought their albums, listened to them over and over again, your OP just sounds like trolling. If you can't appreicate or connect with the music they created on an emotional level (Comfortably Numb one of the most iconic guitar solos of all time as an example) then they just are not for you. But I also can't imagine hearing their catalog of music and not finding something in it that speaks to you as a human emotionally on some level. It doesn't all sound like DSOTM or ABITW ptII. Neither of which do I think is their best work, though I can still appreciate the genius of it.

If I thought the free versions on the market were just as good I can assure you I wouldn't have purchased doubles of each product (due to single seat ilok liscencing that I'm a major critic of). Plenty of info out there on them. They didn't get a whole lot of market presence as they were prohibitivly expensive until the last couple years where they saw major sales. Only the rich can afford a single seat $300 stereo reverb (the surround is even more). And they also were first released under a new brand until Izotope bought them, though headed up by one of the most well respected Reverb experts in the world. They make some of the most respected Reverbs on the market, no question about it - just becuase you haven't done any research at all doesn't discredit those that have. https://tapeop.com/reviews/gear/103/r2-stereo-reverb-plug-in/ https://www.soundonsound.com/reviews/exponential-audio-phoenixverb-r2 https://www.soundonsound.com/reviews/exponential-audio-r4 https://www.musicradar.com/reviews/exponential-audio-r4 https://www.pro-tools-expert.com/logic-pro-expert/logic-pro-blog/2017/03/10/review-exponential-audio-r4.html https://www.gearslutz.com/board/product-alerts-older-than-2-months/1141701-exponential-audio-r4.html https://visualsproducer.wordpress.com/2019/05/05/exponential-audio-reverb-bundle-first-impressions/

Reverbs is an area I don't believe that is the case, assuming you are not counting free for limited time offers, or other give me a taste of the full version options (ala this one, Melda, Akon, etc) The free ones sound pretty good until you swap them out with something like Exponential Audio across all your tracks. This also depends on how you use reverb, if you are someone that just uses a super small amount across all your tracks, then of course the differences are negligable as you can barely hear either when they are on or off. All the free ones on the market are either crippled down, or flat out don't sound as good as the best paid versions. Poor quality reverb can distroy a mix, it is cumulative effect. Might sound good on one track, but as the track counts add up the reverb artifacts and lack of clarity also pile up.

This free one isn't. Not sure why they asked for ilok info at checkout.

Indeed fingers are part of the player I mentioned, a really importat part. Depending on the amp diming them out can put the control of the response back on the player and gear that come before yet....i.e. actually using the volumne knob to control gain. (Jim Marshall would actually call up Kenny from Trainwreck to discuss the finer points of amp design and tone) People have gotten so used to putting pedals in front of the amp which is fine for low end amps, but those really designed for interaction there is a lost art on that front for sure these days. Certianly there are exceptions to this these days (Derek Trucks comes to mind).

If you think in the box simulations such as Bias Amp2 can produce the same response and tone of a Tranwreck amp, then all I can say is it must be nice to not have to obsess over sound and feel like some of us do. I love digital recording, but the notion they have fully replicated the analog releam, especially with something as interactive as a a high end super responsive and dynamic tube amp is simply false. It makes recording general amp tone a lot easier that is for sure, but trying to replicate the full responsiveness and sound as a combination isn't there yet when you are talking about the creme of the crop, we will get there eventually but we are not there yet. If your point of reference is some mid range tube amps, I can understand the perspective. But when you are talking about the most responsive amps ever built it is another matter all together. And yes, there is also a clear audible difference between Evidence Audio cables in front of an amp of that caliber and a Monster Cable when you are standing in the room. These differences also fade as you record through digital gear and the lesser quality mic, pre-amp, and playback system you use it on. Many amps you basically can't tell the difference beccuase they are not responsive enough to the path, but a Trainwreck you absolutly can. The tone that is recorded is only a fraction of what thing is actually producing. As for forgivness, you missread and understand Trainwreck amps. Komet is a different line that is more forgiving to parts...real Trainwreck are not, every part was hand selected and tested in the context of the whole. The majority of Transformers were literally rejected and not used. This isn't like a console emulation, EQ, Compressor that at its core is a subtle coloration while trying to maintain the original signal. A guitar amp (a great one) is designed to truly interact with the player, the conrols of the guitar, the pickups, and becomes an instrument with complicated harmonics. It is very different than trying to replicate a pass through type of device that most of us are familar with in these "in box" emulations of "rack or console" type of gear

They can be converted into a small discount on anything you want at Plugin Boutique. I've converted to "cash" everytime.

Glad to help. Also if you output in PDF any of the usual suspects for PDF viewing (Adobe Reader) will allow you to go full screen and then you use mouse or buttons to click left and right. But you can't preview the next slide that way. I've hosted a few on-line photography classes in this manner where I didn't need to have dual monitors up and "see the next slide" before I show it situations.

As a "presentation tool" I'm not aware of a way to do it. If you are just preparing the slides, you can easily export each of your publisher created pages as JEPGs (one simple export example 100 page deck in 100 jpegs), then take those image files and add those as slides in a program such as power point where you have that funcationality. I haven't used the program for Power Point, but Libre Office should be able to do that PP style preview in a free program, but you could create the slides in publisher.

I actually do becuase I like the workflow and I know the software better. A few things to note: you don't have transitions output to PDF - so you will lose "preview next slide" modes If you collaborate on a "slide deck" using Apub obviously is a problem unless the other people you work with do If soemone needs to copy and paste the text out of your deck into say an email, could be problematic for them Can't imbed videos/audio (to my knowledge) But if you are really just creating a PDF that you click through and don't need to see the next slide, I like it. Master pages can be helpful to get at simlar look arcoss the pages and to make some global changes to the look. Abilites to edit images and text flows are on a different level with Publisher when you get up to speed.

The actual changes Morphit makes at 100% on these Stratus cans was honeslty surprisingly subtle. That should provide some indication they are actually in the ball park of "flat" I certianly have more expensive cans that when using the profile loaded for the specifc pair the changes the software makes to them are more extreme. I'd chalk this up to another +1 on some $35 cans.

I'll chime in with my "thumbs up" Gave them a whirl for a couple hours. As stated previusly, I certainly didn't need another pair of headphones and I certainly have better ones (especially on the open back front). I've never really been a fan of the HD280 other than the fact every part on those things are replaceable - so they are a great studio option as they are made for longevity. So my primary reason for buying them was an alternative closed back can to my HD280s and KRK8400. I'd say they hold up favorably to either pair striticly speaking to general sound quality, though sound different than both and have clearly different signatures and presentations. Are the Status cans worth it at $35? Absolutly. They have plenty of detail for tracking, isolation for mic bleed could be better, but way better than open backs. And I also think that once acclimated, they are balanced enough I could "learn" them well enough to make reasonable mixing decisions. I wouldn't want to use them as the only criteria, but honestly I'd say the same about any headphones I own including ones that were 10x the cost. For closed back cans I don't always need the best possible sound quality as I just need somethign with enough detail and a close enough signature to get a track down....these will get lots of use for that I'm sure. Superb value for the money here. (build quality is good for the money, not as robust as any of my other cans, but I also treat my gear well and do not have concerns about them)

all you have to do is register the app (see the startup screen). That should add the new content that was released today to your download product page. I bought the apps years ago and still got it by doing this.

Update to version 1.9 released for all products. Free update.

"out of spec" doens't matter if you are dealing with an engineer that also has good ears and knows what they are doing. "To spec" is only relevant in mass production that tries to replicate the original design. Those that deal with original and custom builds swap parts out based on how things sound in the context of the whole, not just this cap has to have exactly this value, those that do that are the low paid solder monkeys. Different parts sound different. As for digital emuating behavior. Sure to a certain degree. But I have yet to find a single plugin that truly responds like the best guitar amps that have been made. We are not there yet. Getting closer, but not there yet. So when I talk about the minute differences in a single component swap out, my point is it is arguable that the digital version of that circuit in most instances isn't going to reveal the same super subtle differences. Some circuits are very forgiging for part differences others are not. There is a reason why Trainwreck amps could not be reproduced on an assempbly line. Kenny designed the Komet circuts to be more forgiving for parts differences that would yield a good consistant output. Transformers "off the line" can vary tremendously. I don't know anything about this circuit as it is some one-off build.

No it was just a commentary that even some of the most successful companies gives away free powerful plugins. And in Isotopes case over and over again on multiple ones. The session versions of the synths are very usable, I can understand why many wouldn't be compelled to pay the upgrade cost. Yet another parallel to Isotopes offerings.

Thanks so much. Lots of times when we post these things we have no idea how much (if at all) these things are getting used. Really glad to hear the work that went into it is getting some use!

+1 Add to this some of those NOS parts can't legally be sold and used in new products and it can make for one off products that are as they say, not made like that anymore. I know some a couple well known builders that have made some not for sale pedals using such parts and was able to a/b them against the acceptable production counterparts. No question there was a difference in the builds. Now if those differences would translate into a digital emulation of the circuit, I'd generally doubt it at this point, but I do see the appeal of actual hardware using unobtanium parts.

+1, totally respect AAS and the products. But even the sale prices were not getting me to move on the Delay based on other things I have (and what is in the market). For this deal, yes, I'm sure to pick it up. But even the humble bundle price wasn't good enough based on my own personal need. I've heard good things about it though.

Did you say the same thing about Izotope when they gave away pretty much the entire elements line over and over again? I'd agree with the nottion that "effects" isn't what AAS is known for. Could be wrong, but I don't see this as any cause for concern. Many times these give aways create an influx in demand for a companies products