MOTU Track 16 Review “I Love It”

I love the MOTU Track 16 the below first file is with the Track 16 into my MBP (Mac Book Pro) running OS 10.7.4 to Pro Tools 9.0.6 and I used the API plugins from Waves. Mic used was the DPA 4099. The one thing that I did do was a fresh restart and power up on the Track 16 and now there’s no hiss or noise in any of the signals. The second track is with my (MP) Mac Pro OS 10.6.7 and Pro Tools 9.0.6 running on fire wire. The Motu Cue Mix sounds great too and I will be using it when I head out to CA later in the month to use as my live set up. Im going to try using the MIDI in line with my Roland GI-20 Interface to use to trigger synth sounds such as Spectrasonics Omnisphere.

Update:
After a week of use. 8.7.12 I have to say this really is one great pice of gear. I have been using the MOTU Track 16 with Cue Mix and for Live its awesome. I have in mic channel one my DPA 4099 G mic and in Chanel 2 from the RMC Pickups and Poly-Drive II to the Fishman Aura Spectrum DI then in to the input for ZERO (0) Latency with EQ and Reverb, Then I run Pro Tools 9.0.6 and use Omnisphere and Stylus RMX and run them thorough the MOTU Track 16 and out to my main monitors for an amazingly great live sounding set up.

What some of my friends are saying about the MOTU Track 16 after listing to the finished result:
Vic
I think you have found a winner
Sounds great very clean and I think there is a tad.of high end detail not
Heard since you had the ensemble
(Silver Sound Taz)
Hello Victor,
Sounds lovely. I was more taken by the sound of the guitar…which tells me
the quality is great.
(Mike)
Sounds excellent! I would not have guessed that is was recorded on such a small device.
Peace
(Jay S)

The folks at Sweetwater were great in helping me get the MOTU Track 16 Mark Magdich 1800-222-4700×1265 and the flex pay makes it easier on the wallet.

Track 16 in Pro Tools I received my MOTU Track 16 it looks nice. I am using it with my 2011 MBP (Mac Book Pro 13) and Mac Pro. I found the install to be a little tricky in that the cd did not have the drivers that were needed so the Track 16 would be recognized. After about 10 min I was able to get the MBP to recognize the Track 16. I found that using Fire wire to hook up the Track 16 works on both computers but while using buss power on MBP it seems that the mic and line in are a bit nosey, may be the drivers I have a tech support question in the cue. I am waiting a bit before I conclude my opinion. Check back later.

Plugins for Live Playing

A gift from my buddy Taz Sellers, the SSL Channel Strip, CLA-2A Compression and BBE D82 Sonic Maximizer with Lexicion Hall Verb running on my MacBook Pro. I’m using the Apogee One as my interface with either the LR Baggs pickup or my DPA 4099G mic then out to two QSC K8 speakers for live playing.

Apogee One, DPA 4099, DeVoe Negra, MacBook Pro, Pro Tools 9.5 and QSC K’s

Ive been wondering if there would be a way that I would be able to play live and travel with just my guitar case and a laptop.  I think the answer is yes.  I have been using the Apogee One a very small (size of iPhone) interface that allows me to hook up the DPA 4099G mic that clips onto my DeVoe (phantom power supplied from Apogee One) the Apogee One hooks up to my MacBook Pro with USB 2 and then I run either Pro Tools 9.5 which to my ears sounds better than Logic or Main Stage (However Logic and Main Stage do sound ok just not as smoth or more bright inho).  Then in Pro Tools I am using three tracks on for the Gutiar Mic, then two different drum programs Strike and Boom.  Then off the one I have a stereo line out to to XLR connectors that run to the QSC K8’s.  The sound is fantastic I do use the BBE sonic max plug in for my main mix as well. 

AC-7 DAW Control Surface v.2.0

Was talking with Taz today about the new iPad and he shared with ne this new program AC-7 DAW Control Surface. I downloaded it from iTunes for the iPhone 4.99. Looks like a great app will write more later.

Pro Tools 8.0.3 Error 6097 and just shuts down or freezes

Had some problems thus week in Pro Tools after I did the Spectronics updates for Trillion and Omnisphere. was getting error codes 6097 increase buffer/ lost communication with host. So Taz and I thought keys try a uninstall and reinstall using the download availabe to registered users of Pro Toos at Avid’s web page. Downloaded the file and did the uninstall and reinstal. So far looks good will check in an hour and post what I find out over the next two days.

Update: 2.27.10 Did not work less than one hour problem came back and froze the computer.

**UPDATE** 3.7.10Looks like the new Line 6 midi driver really messes up Pro Tools. I was using the Line 6 Pod XT Pro and did have it hooked up to the computer via midi with a usb cable and as soon as I turned the Line 6 Pod XT Pro on the system would crash. Uninstalled the new update and Pro Tools is working great. Have done two full days of recoding with no issues.

Soft Days in San Sabino Catherdral

I used a patch from TL Space Convolution Reberb ” San Sabino Catherdral” hear is the picture of the plug in and the catherdral. I have also put a clip of the pice that I recorded in my office. click hear to listen to the pice.
01-soft-days-in-san-sabino-catherdral

SPECTRASONICS RMX 1.7 Update

A pic of the update in Logic Pro 8, Works great and the ablility to switch time signatures on the fly is great. I also like the grove lock with play with it more later today in the studio.

Waves Dorrough Metters

Dorrough Electronics designs and manufactures precision audio and video monitoring devices. For over 20 years, Dorrough has pioneered new technologies in audio signal processing and monitoring for the broadcast, motion picture, and recording industries.

Dorrough Electronics founder Mike Dorrough grew up with a love for radio and an insatiable desire to understand how sound devices worked. In the early 1960’s, Mike worked as a sound mixer for a recording company owned by radio icon Casey Kasem and Bob Hudson. During that period, he devised a revolutionary Multi-band (or “Discriminate”) Audio Processing system. By achieving optimum relationships between frequency, time, and amplitude in the complex waveform, Discriminate Audio Processing provided greater loudness with no reduction in fidelity.

The initial success of Discriminate Audio Processing led Mike to a position with Motown and later to RCA Records. Realizing that his system had even greater implications for the broadcast market, in 1965 one of his first Multi-Band Composite Audio Processors was installed at a popular LA radio station.

In 1971, Mike decided to set up his own factory to produce his processors, and launched Dorrough Electronics. Within a few years, a variety of terms widely used in the audio field today like “Multi-band Processing,” “Psycho-Acoustics,” “Relative Audio-Power to Peak Amplitude,” and “Sound-Density” would either be coined or popularized by Dorrough, to describe the effects and benefits of the Discriminate Audio Processor.

Dorrough realized that the perceived loudness of sound is a mathematical function of time and amplitude, and the Dorrough Loudness Monitors grew directly out of the Discriminate Audio Processor. Using patented technology developed to give broadcast and recording engineers a true indication of loudness as perceived by the human ear, Dorrough Loudness Monitors graphically display audio power. Because Average and Peak readings are based on a real-time waveform analysis, the degree of processing, compression, and even distortion are indicated by the relationship between the average and peak indicators.

For his many contributions to world of professional audio, in 2000, Dorrough was honored with a Technical Achievement Award from the Academy of Television Arts & Sciences.

The patented Dorrough Ballistic is based on the mathematics intrinsic to audio waveforms. The average integrates amplitudes in the context of time, for a true reading of audio power that satisfies both ear and machine. Simultaneously, users are provided with a real time peak, which picks up destructive “burst anomalies” the ear might miss, but that are all too noticeable to recording devices.

The mathematical cohesion between Peak and Average also provides users with a unique window into qualitative aspects of the sounds they are recording. By observing the relationship (gap) between the Peak and Average displays, the user can observe graphically the effects of processing, compression, and even detect distortion. While traditional VU meters are useful for determining average sound levels, and PPM meters are known for their ability to catch fast transient peaks, neither provides both average and peak level displays, which are needed to get an indication of overall program loudness.

Dorrough Meters are fully compatible with AES/EBU standards.

Tony Maserati

Waves Dorrough Stereo Native

I love this plug in the meters are fantastic.

2009 Pro Tools Development Partners Catalog Now Available Just ordered mine

Since switching to Pro Tools 8 from Logic Pro I have really liked the simplicity of use with Pro Tools. I like the third party plug ins and while it takes a bit of getting used to use iLok and setting things up once you do you can really tailor your system to your likes and budget. I also like how you can build as you go. Im sure I will like looking at this catalog.
Discover and learn about hundreds of exciting and innovative third-party products that can greatly enhance your creativity with Digidesign’s line of products and boost your efficiency.

This beautifully-designed book provides insight to the latest virtual instruments and effects plug-ins, creativity applications, and productivity tools available from many of the best audio innovators in the industry. You’ll also find studio furniture, rack enclosures, hard drives, and accessories to customize your studio, plus some great educational resources.

McDSP Revolver Impulse Reverb come to Palm Recording Studio

I have a few favorite reverbs and this one from McDSP  Revolver is one of them.  I also really like TL Space, and Waves Renaissance Reverb  and True Reverb.  I like how easy and adjustable the  Revolver is.  The sound sample library is fantastic.  I use the reverbs that I have mentioned  with Pro Tools 8 LE.

Revolver provides the most compelling impulse library to date, with hundreds of sounds from rare holy grail out of production reverbs and acoustic spaces.  Additional acoustic spaces and outboard gear can be modeled in a few minutes with Revolver and the Revolver impulse response tools.

Controls for the total reverb time (in percent and RT60 values), wet and dry levels are always displayed.  The remainder of the Revolver plug-in interface is separated into several control pages and views.  Graphical representations of signal flow, impulse response data, EQ responses, and even images of the impulse response source are available

All parameter adjustments are heard immediately, and the outputs are not muted during any control updates.  The user does not need to wait while the reverb is re-rendered.

Features:

Huge library of presets of out of production reverbs, rare vintage reverbs, and acoustic spaces, Total impulse response manipulation,  Pre-delay (positive or negative),  Two-band dedicated reverb EQ,  Three-band routable EQ,  Two sync-able delay lines,  Tools for creating custom impulse response,  Reverb decay crossover network,  Double precision processing,  Low latency,  Mono and stereo versions

Velvet Digidesign at Palm Recording Studio

Just used Velvet on a session and it was great to work with and it sounds fantastic as well.
Take a listen hear prospectives just click

Strike at Palm Recording Studio

Digidesign® Strike™ is a revolutionary instrument plug-in that makes it easy to create professional drum performances in Pro Tools® with uncanny realism and unbelievable human feel. More than just a high-definition drum module, Strike uses real drum performances and provides unprecedented control over every aspect of your virtual drummer’s sound and playing. Select a kit, set the mic placement and leakage, choose a room, and tell your drummer how to play as you adjust the intensity, complexity, timing, groove, dynamics, and more — in real time. This is one instrument you have to see to believe.
Features
Easily produce highly realistic drum performances right within Pro Tools software
Full real-time control of the virtual drummer’s performance, including intensity, complexity, timing, groove, dynamics, and more
Groundbreaking real-time performance engine allows for gradual drum performance dynamics adjustments without the typical machine gun effect or audible velocity layer switching
Choose from five high-definition drum kits, each featuring up to 12 instruments per kit and up to 300 samples per instrument
Includes over 20 GB of 24-bit audio stored in just 5 GB of space via proprietary lossless compression

Waves Plug In Resaissance Reverb Clasic Sound.

12 reverb types De-correlation for subtle early reflections changes and fine tuning Negative Predelay value delays the dry signal Up to 24bit 96kHz resolution (TDM 24/96 Compact component only) Mono, Mono-to-Stereo and Stereo components Supports TDM, RTAS, Audio Suite, VST, AU PC and Mac compatible

McDSP Revolver Flexible Convolution Reverb

Demo version I have up and running in my PT 8 Rig and it sounds warm and nice.  May have to pick this one up.  Will update more later.

 

Revolver provides the most compelling impulse library to date, with hundreds of sounds from rare holy grail out of production reverbs and acoustic spaces.  Additional acoustic spaces and outboard gear can be modeled in a few minutes with Revolver and the Revolver impulse response tools. 

Controls for the total reverb time (in percent and RT60 values), wet and dry levels are always displayed.  The remainder of the Revolver plug-in interface is separated into several control pages and views.  Graphical representations of signal flow, impulse response data, EQ responses, and even images of the impulse response source are available

All parameter adjustments are heard immediately, and the outputs are not muted during any control updates.  The user does not need to wait while the reverb is re-rendered.

Features:

• Huge library of presets of out of production reverbs, rare vintage reverbs, and acoustic spaces
• Total impulse response manipulation
• Pre-delay (positive or negative)
• Two-band dedicated reverb EQ
• Three-band routable EQ
• Two sync-able delay lines
• Tools for creating custom impulse responses
• Reverb decay crossover network
• Double precision processing
• Low latency
• Mono and stereo versions