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

There’s a great thread going on at the R-E-P Forum at ProSoundWeb.com killing dead, once and for all, the wretched notion that you need to slam as hot of a signal as possible into the A/D converters to “make use of all the bits”…  

Some really cool tangential discussion about all the reasons why it’s so counterproductive with today’s modern digital recordings. Even at 24 bit 44.1k, the noise floor is a complete non-issue.  The biggest problem being available headroom for plug-ins to do their math and the summing buss trying to make sense of everything being slammed so hard. 

I’ve been saying it for years. One of the reasons digital sounds “harsh” to people is that they try to run everything too damn hot!

Read the thread here: Digital Tracking with Low Levels

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

Here’s what you need to know about running the new Universal Binary version of Digital Performer – DP 5.1, on IntelMacs and PowerPC Macs, straight from MOTU:

Using Plug-ins in Digital Performer 5.1

Digital Performer 5.1 is a universal binary application, meaning that it runs natively on either PowerPC or Intel Macs. Per OSX’s design all applications & any plug-ins they use must run entirely natively or non-natively. This means that with DP 5.1 you must use plug-ins that are also universal binaries or that are specific to the type of Mac you have (i.e., PowerPC plug-ins on a PowerPC Mac).

If you’re running DP 5.1 on a PowerPC Mac, you can use universal binary and PowerPC-only plug-ins. You cannot use Intel-only plug-ins.

If you’re running DP 5.1 on an Intel Mac, you can use universal binary and Intel-only plug-ins. You cannot use PowerPC-only plug-ins.

All of the plug-ins included with Digital Performer 5.1 are universal binaries.

Altiverb, VST Wrapper, and other Audio Ease products require updates for DP 5.1 compatibility

For both PowerPC and Intel-based Macs running Digital Performer 5.1, be sure to download and install the very latest versions of VST Wrapper, Altiverb and any other Audio Ease software products before you attempt to run them with Digital Performer 5.1. Audio Ease has recently updated these products to ensure compatibility with Digital Performer 5.1. Visit the Audio Ease website to download updates.

MachFive users require an update for DP 5.1 compatibility

MachFive users should make sure to update to MachFive 1.2.3 before using Digital Performer 5.1. This update is necessary for DP 5.1 compatibility. Click here for the MachFive 1.2.3 update.

Digital Performer 5.1 and Symphonic Instrument, Ethno Instrument, & MX4

Forthcoming updates will provide MAS universal binary plug-ins for these instruments

The current versions of the Symphonic Instrument and Ethno Instrument (1.1.2 and 1.0, respectively) are universal binaries in the AU, RTAS, VST, and standalone formats. Updates which provide universal binary MAS plug-ins for Symphonic Instrument, Ethno Instrument, and MX4 are expected shortly, as well as AU and RTAS universal binary updates for MX4

Also, we’ve been watching threads closely on MOTU-MAC and Unicornation following user experiences with other third-party plug-ins and DP 5.1 Universal Binary compatibility:

Antares Autotune Compatibility Problems With Digital Performer Universal Binary

There have been many reports of immediate crashes with Antares Autotune and DP 5.1. Click here to visit Antare’s website for updates and the latest information.

PSP Audioware – VintageWarmer and others not Intel-Ready yet

WaveArts plug-ins, PowerSuite, TrackPlug, MasterVerb, and others ARE Intel-Ready!

Visit WaveArts download page for the latest updates. Naturally, WaveArts seem to be one of the first companies to be on the ball with this issue. They rock.

MOTU has just released their much anticipated Universal Binary version of Digital Performer, DP 5.1, with support for Intel Macs.

Reports from MOTU-MAC indicate that there may be some problems with third party plugs, especially “wrappers”. So be aware you may need to update some plugs in order to run DP 5.1, even on PowerPC machines.

Here’s MOTU’s page where you can grab the updater.

MOTU DP 5.1 Universal Binary (Intel Mac) Update Now Shipping

And supposedly new Intel towers coming next week too? The whole Intel thing is looking up in a big way… I’m gonna watch and report back here with more soon…

Solid State Logic Duende DAW Plug in Platform

SSL’s new Duende DSP powered plug-in processor brings the legendary sound of an SSL console into your DAW via a single Firewire 400 cable.

You already know the sound of an SSL console – you’ve heard it on countless hit records from the last four decades. Now those superior mix characteristics are available within your Mac OSX digital audio workstation, seamlessly integrated as powerful plug-ins served up on a custom DSP platform.

Based on the digital technology behind SSL’s C-Series consoles, Duende delivers the complete SSL mix experience including SSL’s powerful channel and dynamics processing and the legendary Stereo Bus Compressor.

Duende offers 32 mono channels (stereo tracks count as two mono channels) at 44.1k and 48k and 16 channels of processing at 88.2k and 96k for just under $1600.

View a screenshot of the classic SSL channel EQ, filtering and dynamics:

View as screenshot of the legendary SSL stereo buss compressor:

For more info about Duende, check out the Solid State Logic site: Duende – SSL Console-Grade Processing for your DAW

Focusrite announced July 7th that Liquid Mix is now shipping worldwide for Mac OSX. The LiquidMix is a new multi-channel Firewire Mix Processor.

Liquid Mix’s onboard DSP hosts 32 classic EQs and 32 vintage compressors simultaneously in the mix. Each of Liquid Mix’s 32 channels provides Compressor and EQ emulations selected from a huge pool of high-quality vintage and modern day classics. 40 Compressors and 20 EQs are available straight out of the box, with an expanding library online. Even cooler, a totally unique hybrid 7-band ’super EQ’ can be built out of separate classic EQ sections in every one of the 32 channels.

Each channel appears as a separate VST/AU/RTAS effect within the sequencer and will work within all major applications, including Digital Performer, Pro Tools, and Logic.

Liquid Mix’s DSP is housed within a desktop control solution and connects to the computer via Firewire, which also provides bus-powering. An optional expansion card is available for Liquid Mix, allowing users to increase the number of available channels at higher sample rates. Liquid Mix is bundled with a VST to RTAS wrapper, allowing it to work with Pro Tools HD and Pro Tools LE.

Focusrite Liquid Mix ships for $799.

Check out the Liquid Mix Video at Focusrite’s site.

Or view these photos of the unit and the interface below:

Digidesign has released their Universal Binary update for ProTools 7.

Valid PT7 license is required to install and this update is ONLY for MacIntel machines…

Pro Tools 7.1.1 Updates for Intel-Based Macs

The much anticipated PCIe version of Universal Audio’s popular UAD (DSP powered plug in card) has arrived.

Many Digital Performer users have been anxiously awaiting this release.

Universal Audio has posted a new video about the card here:

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