Ooh, i wasn't aware of that. Just demoed it, it's pretty cool. It's rather on the harsh side if you're going to distort full bandwidth with it or use their internal highpass, but for distorting low end it's really cool.

 

Last edited: Jun 8, 2018

Stuff, I already do incorporate within my workflow in 2018:
(not mentioning the regulars)
SurferEQ2, Tape (real tape, Studer/Revox), Guitar & Bass amps & cabinets (re-amping), strange mics I dug up in thrift stores and flea markets, stuff from/in my modular setup, skateboards, tools from the shedd and oh yea, I almost forgot; weed. Lots of Weed.

 

New New New New

You see it and it seems like a joke. but this guy is amazing when you put it in context in a mix. With three or four touches you have the best bass sound. It is worth what it costs that is little. easy to use, what quality, I love

 

Ableton lIve 10 Utility Mono button...

 

I just got my new studio space. I went to Lowes yesterday to buy all the building materials to build 15 (2 foot 4 foot )acoustic panels, and 4 bass traps ( one each corner) and finally the acoustics stuff for the big walk in in closet inside the same room. I am going to make a big vocal booth inside of it ( booth inside of a booth type thing)

Besides getting the room perfect for my monitors (playback system)

I have a nice headphone setup that also uses tactile feedback (flat from 20hz to 65 hz)

this combination of the monitor system and headphone system i will use in tandem with having Fabfilter pro Q2 spectrum analyzer on the master fader to "see" the signal before it hits the playback system.

these combination of tools i will use during every audio session.
I consider these tools the most important of any.

 

Last edited: Jul 12, 2018

Good ideas many, many times start right there. One toke is all it takes for my beautiful muse to make love to my mind, something like this...

screenshot tools

 

One toke (sweet, sweet Mary; sweet, sweet Mary..)..

 

I read Hunter's Fear and Loathing in Las Vegas after heavily tripping after a Grateful Dead show in the Garden in maybe '78. I was going to be staying by invitation at my friend's house in the Midwood section of Brooklyn, a place that I had never been to before as I didn't want to go all the way back that night to New Jersey where my family was living. I was having a hard time understanding the concept of reality outside of the D train on the way to his apartment, not being able to see absolutely anything outside of the subway car, the world beyond the doors and windows a blurry black zone of nothingness. I was still blazing from the blotter acid some sweet young Deadhead girl had put on my tongue, and didn't know where I was and couldn't figure out where and when I needed to get off the train. There were only a few people on the train. One was an Hispanic guy who I didn't recognise as speaking English, though maybe he was, and who just laughed at me and said something for my benefit that sounded much like Martian probably sounds, and to which I could not in the least garner any meaning. The only others on the car at 1:30 am for some inexplicable reason, were who I thought to be German tourists, the parents both wearing neatly pressed white clothing and the two pink cheeked bright red haired twin sons who looked to me as they had been scrubbed ultra clean with a stiff brush in a bathtub, and too like their elders were immaculately dressed in matching all white outfits, the boys wearing shorts with high black socks that came to just below their knees. I really felt like I needed ask them what stop was coming up because I couldn't see for myself and was getting worried that I was never going to find my destination and be forever lost, riding aimlessly this train to nowhere. I started walking over to them and the parents looked very anxious as what to them must have seemed a madman walking towards them, my long hair and tye-dyed clothing totally disheveled from the downpour I had been caught in earlier outside after the concert while trying to figure out my subway plan on 7th Ave. As I got to about 10 feet away from them is when the conductor tapped the brakes of the train in precipitation of the coming stop which caught me off guard, and I was propelled quickly foward and kind of lunged in the direction of where the family was anxiously sitting, only at the very last moment able to grab a hand hold on a loop provided for standing passengers. But it was much to much for my fellow travelers. Both parents moved like lightening in tandem. It was as if they had resolved a plan if I came towards them to save the children from the inane, drugged to the gills madman among them. All four began screaming loudly at once. Both boys began crying from the peril of my close proximity as well as their parents reaction to the perceived life and death struggle they must have felt imminent to save the children. To make matters worse for them I'm sure, I found it to be the absolute funniest thing I had ever seen and began laughing uncontrollably, adding surely to the German's anxiety that I was freshly escaped from a lunatic asylum and was going to attempt to murder them all as they huddled in fear at the forward door of the car, their last moments of their lives on earth quickly ticking away. Thank goodness the very next moment and the doors opened, so without hesitation further fanfare, stepped out into the platform of the station into black unknown of the outside world. Amazingly, I soon realized that I had miraculously arrived at my destination, Avenue H, and it was now just a short two blocks to my buddies building. I got to the red brick building, breezed into the alcove past the glass doors and fingered the buzzer under his name, and after what seemed a goodly while, the door clicked open. I pushed on through, found and rode the elevator up to his third floor apartment where my friend was wauting at his door. One look at me and he knew that I was heavily and thoroughly buzzed. I was really late in getting there it almost being 2 am, and as he had a psychology exam at 8 am at Brooklyn College where he went to school, and knowing that I was not going to be sleeping anytime soon, went to his bookshelf and handed me the Fear and Loathing. He thought for a quick moment and then took out his Teac 4track reel to reel from a closet and then gave me his sunburst 1972 Fender Strat as well as a short 1/4 inch instrument cable. He said to have fun and that he'd see me the next day. I immediately got down to it, reading the book cover to cover in a couple of hours and then started recording stuff. Up until that time I had never used a tape deck like that and I remember having to figure it all out for myself, but it all worked out in the end. It was an amazing Dead show, a completely silly ride out to Brooklyn and my first time both reading any Hunter S Thompson and of also using a mult-track tape recorder. And so to keep in line with the thread, getting high is something that I will continue to incorporate into my workflow in 2018, but I most probably not be using hallucinogens much any more. When Jimi asks, "Are you experienced, have you ever been experienced?", I can truly say, "Indubitably, most every time I sit down to play".

 

Last edited by a moderator: Jul 12, 2018

thread is aging.. but in a good way clearly..
are you still happy with the UAD stuff? I wasn't as impressed with the free Plexi... but maybe I should run a comparison again..
Did you actually get rid of your amp and cab as a result ? You are doing your guitars all ITB now?


I know @midi-man got great results with guitar rig, and at the moment my fave is Scuffham, and Amplitube,
but I still think my H&K Tubemeister beats them...

 

Last edited by a moderator: Jul 13, 2018

Amps beat software, tube amps beat solid state amps, tone beats flab...every time.

 

Yes, I did get rid of the Marshall head and cab. The amount of live guitar work I’m doing didn’t justify keeping it, and having it there lying was pointless. The Plexi is a good amp, put it’s a one-trick pony. I bought the Savage 120, and I have to tell you that it’s one of the best amp sims ever. It’s got so many tones under the hood. Even on bass I get a very nice edge that complements the fatness from the UAD Ampeg SVT3. I have kept a Vox VT20+ combo that I use sometimes.

 

Yes For me it's guitar rig is my go to. I do use Amplitude and like it also.

 

I stripped a Surface Pro on Windows 10 of everything but drivers and now it exclusively runs Reaktor.
It's highly addictive.

 

interesting.. so you are able to use it like an external sound module in your DAW device ?
or you just do some wild tracking and transfer that over to your main project ?

 

Yes. There's a USB port so I can connect whatever MIDI hardware and route the audio outs to my main workstation.

I can run Live 10 in it and sync it to another instance of the DAW too but when you can do that with more powerful machines it makes more sense to use it, like you said, as an "external sound module".
I use Plogue Bidule to host the few sound mangling plugins I installed and it works like a dream.

Lately, I've been sequencing in Patterning on an iPad and affecting the signal in Reaktor (molekular *hint*hint) on the Surface. SO much fun.

 

Definitely my new chorus for bass

https://www.bozdigitallabs.com/product/provocative/

 

Wow!
Is Molekular the better SB Effectrix and the better Output Movement all-in-one?
I guess I have to try parameter-locking Molekular with my Digitakt :D