Pro Audio, Music & Mac Blog

Just in from Line6… If you have a PODxt and have been thinking about adding some of the model packs or their GearBox plug-in, this is a pretty awesome deal!

2nd Chance: get it all for one low price. 

Worth up to $400 if purchased separately.

We ran this special offer in April, and it was so popular we’ve decided to make it available again. You can add full VST / AU / RTAS plug-in functionality plus get every model pack available to max out the tone of your GuitarPort, PODxt family, or TonePort for one ridiculously low price, $169.95

Everything is included:

- Metal Shop model pack. 
- Collector Classics model pack. 
- FX Junkie model pack. 
- Power Pack. 
- Bass Expansion model pack. 
- GearBox Plug-in Download.

Amounts shown in US Dollars (USD).

Order from:
line6.com/store/storefront.html

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Questions? Read on…

- What is a Plug-in? 
It provides seamless integration and flexibility with your computer recording application, allowing you to: 
- “Re-amp” to change your sound after it’s been recorded. 
- Run multiple plug-ins on a single track to create intricate effects chains. 
- Create doubling effects and dual amp tones. 
- Automate GearBox effects and settings with your recording application. 
- Apply effects and amp processing to pre-recorded loops. 
- Mix and master with studio-quality compressors, reverbs and preamps.

- What compatibility does GearBox Plug-in Download provide and on which computers? 
Mac® RTAS®/AU, Windows® RTAS®/VST®

- What is a Model Pack? 
It is a bundle of additional amplifier models and effects that can be enabled in your Line 6 gear to give you a whole new range of flexibility to dial in just the tone you need. There are different Model Packs available, depending on what style you would like to explore. This bundle includes them all.

- Exactly what amps and effects are included in each Model Pack? 
Please see the following question. Each of the links contains the complete list of amps and effects, plus some audio samples.

- What if I already own a Model Pack? 
If your gear came with a model pack pre-installed or if you purchased one already, this is still a great way to max out your tones and effects without paying for all of the rest of them separately.

- What if I already own the GearBox Plug-in? 
If your gear came with the GearBox Plug-in or if you already purchased it separately, this is still a great deal for the complete set of model packs.

- Will all the tones and effects in the Model Packs work as plug-ins too? 
Yes, any Model Packs you already own or included with this bundle will also have plug-in capability (as long as you have the Line 6 device with the activated plug-in and model packs connected to your computer).

- Is this bundle compatible with POD 2.0 or POD X3? 
No, but you will end up with practically all the models in a POD X3.

- Exactly what Line 6 device do I need for this bundle? 
Model Packs and GearBox Plug-in download are compatible with: GuitarPort, GuitarPort RiffTracker, PODxt, PODxt Live, PODxt Pro, TonePort GX, TonePort KB37, TonePort UX1, TonePort UX2, TonePort UX8, TonePort DI.

- How is this Gold Bundle offer different from the GearBox Plug-in Gold product offered in stores? 
This Gold Bundle offer is only available as an electronic delivery from the Line 6 online store, but the GearBox Plug-in Gold is available from retailers and websites as a boxed product. Both offer the same model packs and plug-in functionality. The GearBox Plug-in Gold (box) comes with a TonePort DI device that must be connected to your computer. The Gold Bundle online offer does not come with any hardware because it is designed to be used with your existing compatible hardware in the place of the TonePort DI.

- What if I purchased a Model Pack or GearBox Plug-in Download at the original price? 
Line 6 does not offer price protection, but if you purchased within the last 30 days, just return your license key for a refund and re-purchase now.

- Do I need to download anything after I purchase a Model Pack or GearBox Plug-in? 
Probably not (just the “Monkey” if you do not have it already). Line 6 will give you a License Key after your purchase (found on the Thank You page, also in your account page, as well as in an email receipt we will send).

- How do I install the License Key 
Line 6 Monkey is the utility used to install the license key. If you don’t have it already, we will give you a download link and complete instructions (it’s easy).

- Can I transfer some or all of the Model Packs or GearBox Plug-in to another Line 6 device? 
Yes, you can transfer all of them together. This is another advantage of the Gold Bundle online offer versus the GearBox Plug-in Gold box version.

- What if my computer crashes, what will happen to my Model Packs? 
The Model Packs and GearBox Plug-in are enabled in your Line 6 gear, so computer crashes will not affect them.

- Is there a Money-back Guarantee? 
Of course, you can return it within 30 days for a full refund, no problem. It is as simple as pasting your license keys into a web page on the line 6 website, and then running Line 6 Monkey with your gear connected to your computer.

What is the cost in Euros? 
This depends on your local rates and any fees from your credit card provider, but 25 USD is approximately 16 EUR now.

Got more questions? 
Read the FAQ: http://line6.com/modelPacks/faq.html

Dudes…

It’s been a long time since I really posted any new Gear Porn.  That’s about to change!

I have a HUGE BONER for some new stuff that I’m going to write about over the next few weeks. I’d like to get your feedback on:

The new MOTU 828MK3 with onboard effects

The new Line6 POD X3 Live

I’m also going to do a review of Digital Perfomer 6 (anyone know when DP6 is really gonna ship?).

Plus, my pal just turned me onto a GREAT new drum sampler  – Addictive Drums

Talk you soon…

Brian

 Line6 has released the new PocketPOD (check out the video). It’s about the size of a tuner (5″ long by 3 1/2″ wide by 2″ deep, and weighs only 6 ounces) and has the same onboard USB digital interface has onboard USB for connecting to your computer to control the device via MIDI (no audio over USB), or to move patches in and out, making this super cool to load up with your favorite sounds from your PODxt, PODxt Live, or POD Pro, then throw it in your gig bag or guitar case. It’s really like a Rockman on steroids! Couple of things to note:  

1. It has a 1/8″ mini-jack (headphone style) so you’ll need an adaptor or 1/8″ to TRS cable. 
2. Has a mini-jack input so you can connect your iPod or whatever and jam away…
3. Has one unbalanced line out you can connect to a PA.

Amp Models based on*:
Marshall® JTM-45 meets Budda Twinmaster
’60 Tweed Fender® Champ®
Budda Twinmaster head
	’65 Blackface Fender® Twin Reverb®
’60 Vox® AC 15
’60 Vox® AC 30 non-Top Boost
	’85 Mesa/Boogie® Mark IIc+ Clean Channel
’85 Mesa/Boogie® Mark IIc+ Drive Channel
Dumble® Overdrive Special Clean Channel
’95 Mesa/Boogie® Dual Rectifier® Head
’89 Soldano SLO Super Lead Overdrive
Dumble® Overdrive Special Drive Channel
1987 Roland® JC-120 Jazz Chorus
Line 6® Insane
Cabinet Models based on*:
1960 Fender® Tweed Champ®
1952 Fender® Tweed Deluxe Reverb®
1960 Vox® AC-15
1964 Fender® Deluxe Reverb®
1965 Fender® Blackface Twin Reverb®
1967 Vox® AC-30
1995 Matchless Chieftain
1959 Fender® Bassman®
1996 Marshall® with Vintage 30s
1978 Marshall® with stock 70s
1968 Marshall® Basketweave with Greenbacks
Line 6® 4×12
Line 6® 1×12
Line 6® 2×12
Line 6® 4×10

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GML makes some of the finest audio gear on earth and George Massenburg’s contribution to the art and science of audio recording and production are deservedly legendary. A buddy recently turned me onto a GREAT long-form DVD style movie featuring George demonstrating the GML 8900. The links are below and you simply need to watch it.BUT, I snipped out this quote because I thought it was funny as hell.[wp_youtube]oFXCr3_9R7Y[/wp_youtube] George Massenburg Labs Support Page has a great in-depth video “white paper” on using the GML 8900 compressor, but it’s really a great lesson in itself about compression in general.Here’s the direct links to the Quicktime movies:Hi Res – 87.3MBLo Res – 12.5MB

The debate rages on, timeless. Someone posts something about one platform being “professional” and the other being “outdated”. It even spawns the Mac versus PC demon sometimes. Well, guess what happened again recently… Somebody wanted to know more about switching to a Mac / DP rig and all hell breaks loose – AGAIN.

Like most of these arguments, this one is stupid for a couple of reasons but primarily because no one gets to be “RIGHT” about this. Everything depends on the particular user involved.

The case for linear hard disk recorders:

They are ultimately the modern replacement for the analog multitrack tape machine. Signal directly to “tape”. Rock solid, no head alignment or bias bullshit. No “erasing” the contacts on the cards in the old MCI machine with a pencil eraser. (Am I dating myself as a 2″ kinda guy?).

If you have lots of good outboard gear, you can mix right from a console “old-new school style”. If you want to edit or mix in a DAW, you’ll need to move that audio into the computer.

That takes extra steps and time but is by no means a “problem”. You’d have to fly tracks into ProTools from 2″ too. You can record tracks into the computer digitally in real time or you can import files much faster using a swappable drive system or some of the onboard networking capabilities of the current crop of recorders. Some even have firewire/USB2 for this purpose.

I don’t think this approach is necessarily yesterday’s technology as much as it is a modern equivalent of time-tested professional workflow paradigms. For example, Radar24 is a popular pro-tools haters compromise in LA because its analog section sounds good and it works just like a tape machine, only
no waiting for the transport.

When you’re on the clock spending someone else’s money, or doing live remotes where you can’t do a 2nd take, or when you just want to have a capture/archive collection method for the source audio, a linear HDR makes a lot of sense.

Now, have you noticed something? Most of the primary benefits and functionality of this type of rig is geared towards the needs and wants of the professional ENGINEER, PRODUCER, or STUDIO. From the perspective of any of these, an HDR is a clear advantage for a variety of reasons, namely rock-solid reliability and compatibility with established methodology.

The case for the computer-based DAW:

For the COMPOSER, PERFORMER, or ARTIST, there is much to be gained from using a computer based DAW as both a creative tool as well as an audio recording platform. In fact, the line blurs tremendously when incorporating virtual instruments, plug-ins and the powerful editing/mixing functionalities that simply don’t exist in a real-time, linear playback system. Many artists and engineers become spoiled (so do many records) by the ease of correcting performance problems, tuning a vocal, time-corrections, looping parts, replacing sounds, replacing parts, comping multiple takes, etc.

Then there are the utilitarian benefits for the chronically right-brain “artiste” who is frequently bad at left brain project and file management stuff. The DAW keeps everything together in one place that’s easy to back up to DVD and export out pieces and files.

Then there are the mixing benefits which are still mind-blowing to a kid that thought the installation of Dolby SR was the greatest achievement in audio history in 85 or 86. To have an infinitely expandable, wholly automated console that you make look the way you want and every possible type of audio plug in one click away definitely beats no hiss…

The old saw of this argument is reliability and what I would call “instant response”. There’s a good reason for that argument. Computers are really only in the last few years fast enough to deal with the large amount of number crunching involved in large track count audio. The advantage of a TDM based ProTools rig is that all of the audio processing is done of their own dedicated DSP cards – hence the home equity line price tag.

BUT… We really have reached the age where native, or host-computer only, DAW programs can and do kick reliable ass. I find it FUD like to say that you can’t “trust” a computer daw for reliable tracking. You can’t rely on a FUCKED UP COMPUTER DAW for reliable tracking.

I can rely on mine and anyone who cares to can as well. 9 times out of 10, problems with computer
recording are the result of individual, personal and subjective issues. Your computer with your particular interface with this set of circumstances doesn’t work = DAWs are unreliable. Bullshit.

Now it sucks for YOU if your computer DAW doesn’t work well but I can tell you that my formula is not
complex or difficult to duplicate.

A MOTU 828 with a modern Mac and DP5 works really fucking well.

Maybe a derivation from that formula will also work well, I don’t know and I don’t really give a shit because mine works. CAVEAT: OF COURSE there are bugs in DP and things occasionally do weird stuff. But even then, you can decide on what version of a program you want to run. With each version comes
new features and new issues. You pick and choose your battles. There is always a well documented sort of “status” of issues and new features. The idiotic audio drop out during bounce to disk bug that MOTU fixed in their last update to DP for example.

When something ISN’T working right, it can almost ALWAYS be attributable to lack of enough ram or horsepower. Something that I COULD do something about by buying more ram or a faster computer if I’m bumping the wall on track counts or available plug ins.

Remember, you haven’t bought a $20k ProTools rig, you spent a couple grand on a Mac and the Motu shit. More fast or more stuff equals faster computer with more memory. Do that and everything will work very happily for you in Mac/DP land.

ISDâ„¢ – Intelligent Signal Display

ISD is a cool new waveform display tool that analyzes the frequency range of the source material and overlays into the waveform display a colored representation of low frequency to high frequency information contained in the source audio.

I’m not entirely onboard as far as how this tool saves time, per se, but it’s just flat out cool to have PERIOD. On their site they promote it’s appeal as:

A more detailed interface saves time for Sound Editors by reducing the need to zoom in and zoom out repetitively.

Which, to be clear, I’m not disagreeing with, apparently I just don’t do the kind of editing and zooming that they do to make this is aspect of the technology’s appeal self-evident, and I suspect that there’s lots of us out there that might find this thing to super cool for other reasons!

Check out the interactive preview of the tool below:

SoundEvolution’s ISDâ„¢ – Intelligent Signal Display

PreSonus has announced improved Digital Performer support for their FaderPort USB Automation and Transport Controller.

The FaderPort’s single fader writes automation for single and group channel volume, pan and mute. FaderPort’s 100mm long throw fader features 1024-step resolution.

Available since November this year the FaderPort is currently compatible with Pro Tools, Cubase, Nuendo, Logic Pro, Sonar and now Digital Performer.

The Digital Performer support download for the FaderPort is available now at the PreSonus downloads page.

Here’s the rundown on the FaderPort’s features:

The audio software geniuses at AudioEase (Altiverb, VSTWrapper, BarbaBatch) have been working on the mother of all (why didn’t Apple think of this) audio file auditioning utilities for the Mac. They had been calling this tool SoundAbout and it provides a really cool, fluid method for previewing and audtioning audio and sound files of all types: samples, song files, mixes, tracks, whatever… It’s totally cool.

Check out the AudioEase SoundAbout preview movie

But what really caught my eye was this:

We are looking for a new name. If you come up with a good one please drop it in the subject line of an email, and if we choose it you get a free copy, an early beta as soon as we have it, and a mention in the about box.

Sweet… Think up the new name and become an instant DAW-MAC legend…

M-Audio ProFire Lightbridge FireWire Lightpipe Interface
connects up to four Lightpipe devices with a PC or Mac via FireWire. Shipping for $399 at most retailers, it’s a pretty inexpensive way to connect digital mixers, AD/DA converters and/or ADATs with most popular DAW software.


The unit is capable of 32 channels of Lightpipe I/O, S/PDIF I/O and two-channel analog output for a total of 34 x 36 concurrent channels at 44.1 or 48kHz sample rates. (It also supports 16-channel Lightpipe operation at 88.2 and 96kHz sample rates via the SMUX protocol.)

The ProFire Lightbridge can output word clock as a master, or slave to external sync on any input, and MIDI I/O also accommodates MIDI Time Code and MIDI Machine Control. Independent volume controls are provided for the ¼” balanced outputs and front panel ¼” headphone jack.

The ProFire Lightbridge is compatible with most DAW software. My experience with M-Audio’s drivers, however, tells me to be cautious.