Brian Walton

For an effect that is only going to get occassional use, I'd give this a shot instead for free https://www.wavesfactory.com/free-audio-plugins/cassette-transport/

I happened to still have a window up of the checkout process before they shut the site down. I'm not sure it required the payment piece or not:

At least on my system it doesn't seem to recognize all the "important" plugins I'd want to use for something like this. VST3 of all the Plugin Alliance Amps I have. Checked the scan path was correct and just doens't show up after the scan. YMMV.

Not even teaser money....I think Larry posted it just to keep his stats up. ?

I'd demo it. I own almost all his plugins and it is the one I basically don't use. Also consider demoing Tone boosters Baracade 4 at the same time. And if you had Sonar Platinum the Adaptive Limiter.

Yep, big fan of the United Plugins Model on licensing. Not sure I need this particular one, but that model makes me far more likley to buy.

Fully understand, and thus why I indicated you might dive deeper into the ins and outs of how it works if you do.

My initial post say "quality is good enough" it had no bearing on the price. I've used $15K Genelac speakers so I know they can reveal tiny differences in music and the upper frequency specturm, dynamics and detail that no $10 headphone can. I've heard tons of speakers and mixed on over a $250,000 system in a terrible room that didn't sound as good as some cheap studio monitors in a decent room. I also didn't say it was strickly the playback system....it is the playback system and the ears/brain that in combination is able to deciper the difference. The vast majority can't but my argument is that some can and I've done tests that back that up so it isn't just conjecture.

Becuase ears can only hear what is being reproduced via speakers of some type. If you don't think there is a quality differene between sets of speakers, then we are not even talking the same language.

No it doensn't when they can do it a statistacially significant number of times. The issue with quality of playback system is different than perfect pitch detection in that the the differences between the lossy and lossless formats are related to quality of sound reproduction. $10 earbuds do not reveal the same level of sound detail as $15K Genelec Speakers do in a treated room. Lossy compression throws out data in the files and they attempted to do so to minimize the perception of loss, which they have done a very good job of at high bitrate encoding. However outstanding sound reproduction helps to reveal those subtle differences. You think a mixing engeneer can also mix records on $10 headphones? There is a reason why studio monitors are built and sold.

They were blind tests and results are mixed but I can tell you with absolute certainty that some people do have the ability as long as the playback equipment is good enough. Small percentage of the population but they do exist. Just like only a tiny percent have perfect pitch.

It actually depends on both playback equipment and ones ears. In a car environment those factors are almost always negated. Using high end playback equipment doing A/Bs with above average ears there absolutly are people that can pick the better source above an average of "guessing." I've done blind tests with clients befroe in a studio environment. Not everyone gets it, but there are those that can....one of which that got it right every single time was literally blind. Which re-inforces the concept that ones other senses become heightended if you loose one.

I'm new to this so I'm not sure what triggers it. I did not get one and spent over $80 out of pocket in the last 2 weeks.

Fully aware of the quality differences. However, for mass consumption there is a lot more to it than song titles. Not having the files tagged with meta data makes you look like an amature more that the MP3 vs WAV difference that frankly you probably can't hear in your car stereo system anyway if you are encoding at the higest bit rate.

But if you dont' format the files properly the meta data tags won't show the song names, album title, artist, etc. This is easier to do with MP3 than it is for WAV files. But it can be done of course. This becomes much more relevant for anyone that is selling these things, or giving them out than it is for personal use where you know your own work.

So what does this even look like with all the products being full retail at the moment? I didn't get one, but bought something with each voucher they sent out since the holiday mega sale....and spent money with each, not just grab freebies. So they know I'm a sucker for vouchers.

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.