After years of diddling with multiple layouts and bits along with constantly still doing the same, One of my best investments or rather pair of investments would definately be a specific PSU for digital pedals and a good quality one for the rest also, Having the digital stuff by Strymon for example on the same supply as your overdrive/distortion/fuzz...etc and any of say the big old size box Electro-Harmonix stuff modulation and delay wise causes problems. I got a voodoo labs digital specific PSU and for the others I use an MXR job but there is so much choice that are all quality. A Furman job is always a good option if hum/dirty power is ever an issue (or you don't have a rack power conditioner or want a small portable one instead of anything rack for out of the house use. Also those ebtech hum elimator boxes really do work, Our mutually already talked about ART utility boxes are really great in this area of solutions to stuff too). I'm sure you have all those things on your mind/noted for building your ideal board up anyway but as always being a pedal whore and live sound gibbon, I've had to learn to sort out many problems which have arisen over the years the hard way of course). Hope that is of some use. The control level which the TC Electronic TonePrint series pedals is as complex as many pieces of software, I have quite a few of them, The multiband compressor (hypergravity) and noise-gate (sentry) are basically System 6000 algorithms to tweak with until your heart is content for example hooked up to a computer or tablet with USB, Pedals are getting complicated should we want such, I have some of the all-in-one floorboard solutions and they are hell to progam unless you can hook them up to a computer editor such as the Boss GT devices, The menu navigation on board is horrific! Still it isn't like programming a sound on a DX7 thankfully, I rarely use the all-in-one stuff anyway as powerful as they are, The on-board drive sounds are always lacking I find personally.
Edit: I'd be more than happy to send you a PM to go in to depth about my setups and would love to hear what you have planned, I'd of course post it here but I don't want to derail OT, I suppose we could do a "What's on your pedalboard?" thread so anyone can jump in/share man, Give me a shout whenever

 

Last edited: Sep 6, 2017

Don't really see a problem with the new plugins coming out. When all else fails, just pick up the bloody manual. Every plugin that comes out has presets anyway. Which is what most "beat makers" use to begin with. It never really mattered how dull or complex the interface looked. There are many plugins that came out 10 years ago that are fairly complex. But people used them anyway because well... presets. lol

 

I don't know if this is relevant. It's just my story. I bought a Roland SH-3 in 1974 and knew it inside out. I can say the same for many more synths from Moog to Oberheim until the DX-7 arrived. Then it got weird. I stopped caring and just got on with making music with the gear I understood. Now it's weird again. Am I supposed to be able to program Serum? Maybe it would be good, but I don't have the inclination. My knowledge of my software is rated at "minimal" but I get my work done. Mostly short films, so lots of cut and paste and "let's put a pitchshifter and a long reverb on it" and voila! So, in short, yes, it's too complex. But that's only for me.

 

Congratulations on purchasing your new Omniplug infinite edition.

 

Agreed, I really like the tone of it. Hell, I've used it as my short room where I usually use a convolution reverb to good effect trying to get a more vintage vibe on a track which I felt needed that.

Doesn't the analog knob essentially do the same as the other waves plugins and add the noise floor?

Maybe I need to read the manual...

 

Speaking of manuals, the Cubase manual is going to be a new Bible, or Quran, or whatever your favourite fantasy book is [Dumbo?].