lol thanks, yeah i tried calling the m-audio tech support ad theres no answer, as far as adobe tech support theres not even a number to call, ill update you on how things are going, hopefully it gets better, thanks for the quick reply

If you think THAT's a long post you should see some of my others? I wish we had a stat for average character count per post.


I'm not a huge protools fan myself, and yes I HAVE used it, and I know several degree holding sound engineers that agree with me for the same reasons. It's an extremely proprietary rig and upgrade costs are continual and expensive.

Something that's a bit pricey, but I've liked it when I've used it, is sonar. If you're getting deep into track editing and multi-tracking it's my favorite choice in it's price range. Programs like reason are much better at handling midi, and sequencing, but it's just not as favorable for full band recording to me. If you want to get into the more high end market, most of the pros I know are moving to Logic (local sound engineering school "Expressions" is moving to logic as I type). Logic makes very good products and is highly compatible.


And onto your issue. Some programs are picky about windows defaults when it comes to interfacing correctly. If you can, make the interface the default audio in and out. You can also download "Audacity" which is a free recording program to test if the fast-track is working properly in windows.

If you indeed verify that the interface is working and usable, then I'd email or call adobe to find out if there's any known issues with compatibility with that device.

Hope that helps.

hey guys, its been a while,good to talk to you guys again :D

i figured out a way for me to record REALLY simply, i use fruity loops and my drummer maps out all his drum hits, then i use drumagog to take away the robo drum feel.

to record guitar bass and vocals i was trying to get the cheapest usb interface with xlr, and 1/4 inch inputs.

so i got home last night and i was all KINDS of excited havin a new toy and whatnot, i install the driver software, hook it up, run the line out of my line 6 to the fast track box, a cable out of the headphone jack for monitering out to my stereo.


now im getting sound through my stereo, so im getting sound in and out of the fast track box, but when i open adobe audition and play something the levels in adobe dont move whatsoever.

it seems like adobe doesnt know where its supposed to be getting the sound from, i set the ins and outs in the adobe audio hardware settings to be the m-audio box but still, nothin, im starting to wonder if the m-audio box just doesnt work with adobe audtion?

anyways if thats the case then i have no problem switching as long as theres an equal or better software out there for around the same price, im not really down with the whole pro tools thing so i think thats my only preference.


sorry about the essay guys im just super frustrated, i was messin with it for so long last night, no success whatsoever, thanks for your help in advance.

I understand what Midi is and does. I have a Roalnd FC-300 controlling my TC Electronics G-Major, but I want to do more than the basics. I want to be able to control multiple devices from the same controller. I really want to be able to control multiple devices that affect multiple signal paths from the same device.

I am having a hard time finding a good resource that explains the guts you need to know to do this type of configuration. Anyone have any good links or books that really explain this aspect?

John Mayer's Daughters: a quick look at the way i play the elements of this song.....thanks for watching!

http://www.youtube.com/watch?v=_qc2AvRCZL0

I believe that the who reason for the full stack is image. We played an outdoor gig for Canada day, and we got as many 4 12's as we could find. Only 2 were live, but the stage looked awesome. Those in the know so to speak thought is was absolutely the coolest thing a local band had done. Scared some of the organizers of course but the sounds dudes had a good laugh at the whole thing too! Remember "Image is Everything!"

Yup, definitely a bad filter cap. Pulled it out, opened it up... dry as a BONE!!!

What really sucks is that replacement cap CANS for any amp are hard to come by, let alone in the right values, and for a decent price. So I'm just going to order some axial caps and go to town on the thing. Money is tight with the holidays coming up though, so it'll probably wait until after the new year.

Very true, but I've always preferred to lug around a 120 pounds half stack that's in a 70 pound and 50 pound piece, than carry a combo that's 100 pounds and awkward. You really shouldn't put casters on a tube combo, adding to the punishment of having a metal amp combo (which usually has 100 watts and beefy transformers).

A half stack is more expandable, and in many "small" venues today you can actually get them cranked pretty well if the house is decent. That's what kids want these days from metal anyways.

Plus, you can usually just run two of the 4 speakers in a halfstack if you really want to cut down your speaker surface.

Now, if we want to talk about full stacks... I find them ridiculous. I'd much MUCH MUCH sooner recommend a separate head and 2x12 cab setup than a full stack. I'm not against a 2x12 in any way, other than they're not as common on the market.

The only thing I really see against the half stack though is that it's big and harder to fit into a car, which is a totally valid point. So valid even that I'll be building a 2x12 soon since my 4x12 just barely fits into my 2 seater datsun.

Your quote of your friend goofydawg makes me wonder what he really meant, because taken at face value that might be a very misleading statement.

The high end boutique companies (not just the ones that WANT to be boutique) have resistors, capacitors, pots, even WIRE for darn sake CUSTOM made to THEIR specs. You can't just go get the same exact capacitors as a top hat from any company. You'd have to go directly to who they get theirs from and ask them to make some just like top hat's, not their shelf products.

If he's really going through all that work, my hat is off to him. I'm just saying his statement could be very true, or up for interpretation.

I would like to clarify something goofydawg said. He's right in that output tube distortion is essential for that real raw metal tone, but it should be WELL noted that metal generally has the LEAST amount of output tube distortion over most other distortion driven genres. The most output distortion generally comes in blues and also the "brown" sound era of hard rock. Without output tube distortion these genre's just wouldn't sound right, which is why even with a master volume you still need to CRANK your marshall to get EVH tone.

High gain tube amps are generally designed to generate loads of preamp distortion and then amplify it with tons of clean headroom, with a touch of output tube compression when turned up to the amp's sweet spot. Too much output distortion and the tone just gets messy, loose, lacking definition. If you want thump, tons of low end thud, and a cutting sound that's mean, then you're going to have tons of preamp gain with little to no output distortion.

I would personally have thought the exact opposite a year ago, but just spent the last couple months learning why I was WRONG. This is also why it's extremely hard to make a high gain amp that can really do it all, without some very complex circuit switching. Mesa, for example, has their preamps alone set up such a way that the signal could travel a myriad of paths just based on a few switches and variable knobs. Their output on some amps are actually capable of providing variable plate voltages and corresponding cathode bias in order to achieve a variable output stage.

This is why some mesa amps are "simul class".

A tube can offer a RANGE of gain, thus distortion depending on the circuit, not just what exact tube is in it. This is why an old amp with weaker newly made tubes looses some life to it's tone, while a modern amp with vintage NOS mullard tubes can sound overly harsh, because the newer design made up for the lack of gain from the newer tubes.

Let's just talk theoretically for a second, so that the actual values don't matter.

Say you apply 340 volts to the plates of a 6L6 tube. You could run the bias resistor at 880 ohms (same as a silvertone 1396 btw). That might be a good bias point for that setup, but there's usually some room to wiggle safely. You could run down to 800 ohms probably without killing to tubes extraordinary fast. This would give you considerably more gain. You could also run the plate voltage up to 380 volts and still be within the safety range of the amp. This would also require running a higher value bias resistor to prevent overloading the tube. So move it to say... 1.5k and we're back in business. So we'll say we're now back to a "safe" bias like the origonal setup, but guess what, more gain. But now we could lower the bias resistor down a taste and get even MORE gain.

Many vintage Fender amps ran their output tubes well over 400 volts, sometimes exceeding the suggested MAX by tube manufactures by as much as 10% in the day. They did this to maximize headroom, as was the goal of the day. They also gave us amps that offered tons of output distortion when really driven hard, especially with later high output humbuckers. The 5E6-A bassman ran it's 6L6GC's at 405 volts. The 5F6 bassman ran it's 5881's at 430 volts.

We don't use those for metal. They simply don't offer the headroom to give us the bass and punch we're looking for, let alone the piles of distortion we want. Even with a good preamp these amps still wouldn't do it, though ironically the early marshalls based off the same circuit would be much closer....


To sum it up. I'm not trying to say anyone's wrong persay, because part of what goofydawg said is 100% correct and valid, and I agree. Just take it with a grain of salt. There's hundreds of variables in the circuit between your strings and the speaker, and possible distortion on almost all of it, so to narrow any sound to any ONE variable is tough, if not impossible.