Brian Walton

I think I noticed you had some Tanoy Reveals (the 402s perhpas) for monitors. I have and love the 502s - though I had to purchase 6 of them to get two 4 with a similar "noise profile." (I also have the 402s, but I haven't used them in a few years). So I'm guessing we at least have one common point of reference generally speaking. I've used the MDR-7506. They are closed back so they won't sound quite like the old ones, but do fit in that "presense of the highs/mids catergory" compared to something like the Sennheiser brand. All depends on what you are looking for, like and need. If you are keeping the Status ones for closed back purposes, you might consider an alternative open-back pair as the alternate purchase instead of the MDRs.

Look forward to getting mine. Also give Morphit by Toneboosters a try (full featured unlimtied time demo available - so no 30 second drop outs or annoying white noise). They have a profile for the CB-1. (you can adjust the percentage by which it applies the frequency adjustment to match "flat") I never owned that particular Sony MDR model, but I have tried a few different MDR pairs over the years, the mid range and top end usualy had quite a bit of presense to it. Compaired to my Sennheiser HD500(series of varios) models, I thought they were a little too much. Not that it isn't accurate but just the presentation wasn't as enjoyable to listen to. If you ears have become accustom to that presentation, I'd imagine a few brands would end up not having that "sparkle." AKG can tend to be on that high end presense specturm too. Even without hearing the CB-1s yet, your perception doesn't surprise me at all based on other things I've read about these cans. Also the open back to closed back design will have inherant differences. My closed back Senn280s sound like garbage compared to the HD598s to my ears. Also, while it is fun to mess aroudn with the psycho acoutic toys, I'd suggest leaving those off for the inital tests on comparisons and then jump into that as the 2nd judgement criteria.

The lite version isn't really freeware. You have to find a place giving a promotion for it. Not sure if this is deal is still live, but it worked for me in December: There are also some physical products that come packages with this Lite version as a bonus. But it isn't a free for all type of product offering.

I also caved. Will see, I have pile of Senn Cans but all are open-back. Have closed back KRK 8400 and Senn280 Pros. And of course a number of sets of in ears. I don't use Close backs often, but when tracking with condensers, need options to minimize bleed. figured for the sale price + coupon worth the hassle, and it sounds like they have a good return policy if they don't live up to expectations.

About a day later, haven't seen any notifications on my end. Assuming this same day push out was delayed?

Love the sound here to, but honestly hate the color. The headphone bag makes them look awful as the black wears off on the headband. I prefer the sound to many pricier sets, to me they are just fantastic. Forgiving enough to really enjoy listening to music but accurate enough to have fun mixing. Toneboosters morphit also has a profile to make then flatter or any shade in-between

Hate to say it, but developed and released are two different things. Haven't seen the verbiage, but based on what you wrote sounds like there might be a loophole. Either way, glad I'm not on-board with any of it.

It is just a personal preference thing. That section isn't one where you can click and get functionality from and the fact it has constant movement It is already drawing your eye up there so my brain doesn't need the distraction of reading a word, I know it is related to performance, so I know what it is. The idea is to declutter some of those distractions that don't add value to me personally. It is a little extreme perhaps, but that word "performance" is pretty big up there and I found I liked it better with it removed. Other areas where I'm selecting a tool, or something of that nature, I want some indication of what it is. (and it does say performance if you collapse it)

So this is one of my favorite and most used themes. I made some mods to it (not to make it "better" just more in line with how I like to work). So thanks to @Colin Nicholls for the Flat White Theme that inspired @John Paul Anthony Dela Cruz to create AFUI 1.5 theme that I've created a few tweaks to. So it isn't really a new theme, just a slight variation UPDATE::: 2021.12 compatible. Main idea of changes that I made: Remove lots of the word clutter (pro-channel, Effects, Sends, I/O, Performance, gain/pan) - where any experienced user already knows where these are. Change FX active/inactive button in track and console view. I went for the traditional green is on, red is off type of look. Adjusted the color of at least one of the faders Just posting if anyone finds the variation interesting of an already brilliant theme created by someone else. AFUI 1.5 - BW Pro_2021-12.sth AFUI 1.5 - BW Pro_2021-04.sth

Not sure what the deal is. Mine said something like demo mode at the top, and I couldn't find a place to load the key, so I just dragged the file onto the application and demo went away.

The "pro" version of my theme is now updated for 2021.04 If you use the other themes you could export the Channel Strip Selections assets from this one and import them in the others. https://drive.google.com/drive/u/3/folders/1AAfZyUQm1Mfid8pdp5F4qDqEdWC55k92

Yeah, I had done restarts yesterday, but it wasn't until more switching today that it seemed to accept the updates. Now on to modifying custom themes!

Thanks. I had changed themes and done computer reboots yesterday. Today I swtiched about 10 different themes and it finally took.

I tried that a few times, doesn't reveal the new buttons. Thanks

Even using the stock themes doesn't seem like the new Selection buttons are showing up:

I actually have a true story that I think actually tops that one, but I don't think he needs more attention than he already has. It really amazes me his creations reached such mythical status. A business model and personallity that was effectivly the polar opposite another famous boutique builder.

Def grab this (pay what you want including $0) https://forum.affinity.serif.com/index.php?/topic/126561-500-affinity-designer-vector-pain-brushes-pay-what-you-want/ And if you search through this forum section you will also find a whole mess of free brushes and things. https://forum.affinity.serif.com/index.php?/forum/11-resources/

I only have some of the content (most is actually 3rd party created), but each I tried was certainly high quality. Lots of free brushes on the internet if you look around if you just want to expand the tool set: https://www.brusheezy.com/free/affinity-designer

You might not have a need for publisher layouts, but if you buy publisher you will then be able to use studiolink to switch bettween the 3 apps more or less instantly. That is helpful even if you don't touch the publisher side if you do any cross vector/photo work. Note not every feature is still there when you do that, but most are....might consider running the demo to see if it woudl be worth the extra $25 to gain that.

Real Wrecks are way more dynamic and harder to record, It makes them super expressive in a great players hands, and a bit painful in those with less control. This is assuming someone isn't using an express and cranking the gain - those are a lot more forgiving. Yeah, I don't care what anyone else uses...boxes are just tools. In fact you look at something like a Wreck...basically no-one has them. Yes, there are some major players with them, but a lot of them went to I'll say lesser known guitarists they never want to part with them. I'm a HUGE fan of small amps. Trainwreck (by JM) has been working on a low watt Wreck design for a few years now, I'd expect we will eventually see it come to market and I look forward to that. Yep, Kimock used Boogies for a while. By the start of 2000 he was using a Dumble ODS pretty much all the time. THen they sky rocketed in value and he started using Two Rock on tour and kept the Dumble for home/studio. Give him any high headroom clean amp and you are going to get fantastic tone from him. Also helps that he frequently plays gigs without monitors after really careful stage setup, so you get more purity of tone coming from the Amp.

I usually don't encourage spending...but these apps really are a great value for those that dabble in this space. I'd agree on the snappyness of Affinity over Corel. Corel has some deep features and tools, but it has a bit of the old code problem that also plagues Adobe as they continue to develop. Both are really nice products....Affinity is just an insane value and I'm excided to see how far they take it as it gets developed. Corel feels like a "I"ve arrived, now what?" product as it has been developed for so long. Many of the updates (which you have to pay for) from say 2019 to 2020 felt like refinements of what were already there, instead of "this is worth many times more than the cost of Affinity suite new" Affinity isn't perfect. But at the price to get pro grade tools, I can't fault them.

Honeslty pretty hard to answer. Both are very capable products. You can certainly achieve similar results with them, but can depend on how you like to work. I personally ran into some install issues with Corel and think that is a draw back for me (finally got them to work - or I think they still do as I haven't opened them in a while). But ran into issues with both 2019 and 2020 across multiple machines. I never dived in super deep with Corel but it felt feature rich on the surface and training materials both in house and other people using it seemed sparse (perhpas becuase of the cost). Use affinity all the time and Corel collects dust, but I don't think that is becuase of feature sets, I know affinity products better and I also just expect them to continue to advance where Corel is an amazing - but niche market. I think Affinity likley has a stronger future due to the fact I see them continuing to gain a larger market segment beuase of the price to quality ratio. Corel is great for those that want to stay in the Corel echosystem, I think Affinity tries to bridge the gap for Adobe (or former Adobe users better).

I've been very fortunate in the access I have to world class amps. I have access to the amp Kenny called the best amp he ever built bascially any time I want thanks to being close friends with the owner of it. This also opened doors to testing and demoing tons of valuable amps and gear. I've had both a wreck and dumble side by side on the same stage. Honestly when you get into the Kemper type of thing, the tone itself can be pretty hard to tell the difference in a mix for many amps. We percieve real amps differently as we are not used to only hearing them recorded, we get to hear the actual sound it produces which is worlds different when you are talking about an amp like a Wreck. I've tried no less than 20 "dumble" pedals and still own a couple. Depends on the sound you are after. I think the Ethos does a good job on the clean channel of getting the EQ curve and shape out of the amp. I haven't played a single pedal that I think has a really pleasing "saturation" characteristic on that front though. But then again, as far as overdrive, dynamics and harmonics....the Wreck is where it is at. Dumble is way overrated on that front not just hte pedals, but the real thing. The clean tones are heavenly though....ala Steve Kimock.

While this is true (and the same thing and more can be said about Wrecks), the reality is the core circut always has some base charactaristics. I've played a few of them, and while they are all different there are a bunch of similarities. My statment about them not souinding or responding like the real thing has nothing to do with those differences, it is about the core response of the techology as well as the reporduction of harmonics and distortion. I've heard and played clones of the amps as well, and those can be closer than the modeler, I've heard some that are even pretty much spot on. And A/B'd them with the exact same cab. Copies don't sound like the real deal becuase of limitations in the technology, not becuase of variations between amps. These are also simulations made by FUCHS, not Dumble and his stupid gooped up circuit boards.

I like Chandler as well as it is so unique and has some variety. I don't think it is quite on the level of the Fuchs ones. For context I have first hand experience playing through and recording both a real Dumble ODS and multiple Ken Fischer made Trainwrecks....the amps that inspired the Fuchs concepts and of course then the plugins. Now they don't sound and respond like the real thing, but honestly absolutly close enough for the cost of these things. Now the Train has WAY more gain on tap than any Trainwreck I've ever played, but if you set it up right - it can given some "wreck" like tones for sure. And the ODS....well I love a Clean Dumble sound (I'm not a fan of the super over drive/compressed "dumble tone") and the knobs and tone controls are honestly surprisngly familar as they are manipulated. Brainworks knows what they are doing, and while they don't sound and respond exactly like the real thing.....I'd argue it is likley easier to get quality recorded tones easily with them than it is with the real thing. A 30 watt Wreck through a vintage ampeg with green backs (owned and selected by kenny himself) puts out way above 100db (my db meter was indicated over 120db) not even cranked all the way up.....and to get the richness and harmonic 3d effects with Microphone placement of what the amp really sounds like.....a lot harder than you would imagine. There is a rawness to it that no emulation does though, all the emulations end up sounding like a tame recording but with that ball park of "tone."