Chip McDonald

Deregulation made it so bad. The utility had no reason to spend money on hardening the system against a catastrophe like what happened, and the politicians that enabled that to happen are to blame. .... meanwhile, people will solar and Tesla power walls lived life normally.

Maybe they can extrapolate wind speed/turbulence data from the rumble. Surely someone at DPA would have mentioned "hey, there's going to be sub-sonic rumble". I suppose designing a Mars-proof dead cat might have been a daunting challenge....

I've taught plenty of kids that listen to Jimi Hendrix. I see no reason for people to stop listening to suddenly Jimi Hendrix in 49 years. ... I teach a 20 year old guy that is a big Genesis fan -and he's presently learning to play the melody to "Solsbury Hill" on guitar. Yes has plenty of fans in the prog community. Maybe? Did you mean 50 years or 500 years? Sales =/= talent or quality. Alanis, Britney, G&R, Meat Loaf, Steve Miller.... Jimi Hendrix, the Beatles, Michael Jackon... those are not equivalents. Their hit songs will still be discovered and listened to. Plenty of people listen to classical music from a century before they were born; most people can identify "Pachelbel's canon", "Cantata and Fugue in Em", "Claire de Lune"... a great song will always be a great song. That has to do with oppressive oligarch business practices in streaming; whether he's at peak profitability for his catalog now - at his age - versus the long tail doesn't indicate anything about his popularity or whether someone is going to listen to his music 50 or 100 years from now. Again, in 2019 I had 2 students in their early 20's that were totally into Dylan - that's not going to change. ..... hmm. Post Napster/IPod ageism in music went away completely. Yesterday I have a father and son I teach. The father wants to learn what he liked from the 90 's/2000s, 3rd Eye Blind, etc.. This is what his 13 year old son has picked on his own to learn so far: Jambalaya - Hank Williams Sr. Jerry Reed - Amos Moses Crazy Little Thing Called Love - Queen Steeler's Wheel - Stuck in the Middle With You Goodbye Yellow Brick Road - Elton John Another 12 year old bass player I teach: Good Times - Chic The Chicken (both James Brown and Jaco versions) Holiday in Cambodia - Dead Kennedys Spain - Chick Corea You shouldn't think centric to what the "record industry" wants to present as the illusion of reality. They threw that away when they gave in to streaming. If they were smart they'd recognize *genres* sell; if they'd re-institute the process of having quality people vet talented people, they'd find their profits reinvigorated and reality might match what they pretend to be doing. Well, Calloway is immortalized in _the Blues Brothers_. Benny Goodman somewhat as well. But here's a thought: what if "rock music" is simply more potent? Just because a teen doesn't want to listen to Artie Shaw 100 years later I don't think has anything to do with choices that will be made 100 years from now. That presumes all music is a flat plane, from the standpoint of being catchy and listenable. I'm very, very sure there are teens into Goodman, and maybe even Calloway. *If the industry recognized the value of keeping *all* genres invigorated, the overall value of music would go up, as would the popularity of "music" as a part of life. I'm also quite sure there are teens that are aware of them. But - the "aware" point is a mistake of the music industry. Again: post-Napster/IPod, people's bias towards having "new" music has been cut in half. The only reason the other half still thinks they've got to listen to "new" music is because they have a shallow upbringing, combined with the industry always pushing a gimmick as "this is the Big Deal Right Now". Hate to say it Craig, but you're really off base on this one. If anything, you're diametrically wrong: I say "new music" is dying. The premise that there will always be "new" music made that is "popular" and subsumes the past is not predicated on any actual rule. I think just 20 years from now it will become obvious that "most of the best" music has already been made and recorded, and people will merely have a genre preference and learn what they like of music that already exists today. Unless the industry goes back to trying to discover real, hardcore talent, there won't be any "new" music created that will be listened to in 50 years - but Hendrix, the Beatles, Dylan, without a doubt will be listened to and recognized by the majority of the western population. Also , the premise that music we listen to today from the classical/baroque era has "faded" in part has to do with a lack of a visual video record to associate with the artist. If there was video of a Paganini or Mozart concert this dialogue may not be happening.

The main reason it's not a waste of money is because China is also going for it. Money thrown at tech means innovation *will* happen, and the U.S. doesn't want to get caught on the back foot. Tech infrastructure provides wiggle room. And the psychology of it on the social conscious shouldn't be minimized. While it would be great if the money was spent on humanitarian things - making the water in Flint drinkable, insuring schools are safe from covid, making vaccinations more available, providing stimulus, on and on.... they *are* going to spend the money based on the corporations that control the U.S. government. I'd rather it be the space program than bombs on U.S. built planes being dropped by Saudis in Yemen.

Carpenters - "Goodbye To Love", "Close To You" ELO - Coda to "Mr. Blue Sky"; intro to "It's Over", intro/outro to "Big Wheels"; intro to "Strange Magic"; intro to "Believe Me Now", (r.i.p. Louis Clark); Albinoni - "Adagio in Gm" (Neville Marriner/Academy of St. Martin in the Fields version) Toto- solo section+Lukather's solo on "I Won't Hold You Back Now". Pink Floyd - "Great Gig in the Sky" Bach - "Air on a G String" - Royal Philharmonic version k.d. lang - "Save Me" Vangelis - "Memories of Green" Eric Carmen - "All By Myself" Debussy - "Reverie" Queen - "Who Wants to Live Forever" Clannad - "In a Lifetime"

Sounds great, but it sounds like whoever uploaded that maybe did some M/S stereoizing.

db magazine was great. I only read a few copies I could get hold of, but it was great how dry and unapologetically technical it was. There were some "digital/analog computers" that did really insane bit-wise math for control systems on Mercury>Apollo program boosters I bet led into the digital delay idea. That late 60's/70's era where "computers" were in a hazy sort of limbo between methods of storing states with the most arcane methods was such a pivotal point in every aspect of modern life.

Having lived in the "L.A. climate of the east' in Augusta Georgia, I can't take the cold at all - I've foregone my daily walk for both covid reasons and sub-60 degree temperature. This has been the first actual "winter" here in maybe 2 decades I would say. The big ice storm back in...2017? Made us lose power for almost 10 days. The first night my wife and I were trapped at our house with no power in 20 degree weather; it got down to freezing in the house, as we heard the cracking sound of trees falling around our house (we live "back in the woods" so to speak). The next morning tried to get out of our property, driveway blocked by downed trees - took half an hour to get to the road on our 1/8th mile long driveway. A very surreal experience. My parents house had intermitant power, so they had heat. We couldn't get there because our cars were blocked in, snow+ice meant they couldn't get to us. It was pretty sketchy for a few days; I remember at the road you could hear a woman from the second story of some apartment complexes yelling "who's there? Who is out there?" - it was like a scene from an end of the world movie. Despite living within a block of a community center - that appeared to have power (heat) - the local city government didn't find it worthwhile to open it up. Friends with a 4x4 took us out to my parent's house across town where we stayed for the 10 days while the other half of town had no power. *It was patently scary after the first night, realizing "we have no options if the power doesn't come back on"*. We couldn't go anywhere and it was freezing. Local government had no shelters. We would have tried to sleep in the cars, but that would have been sketchy and gas would have ran out - presuming we could keep restarting them with the batteries not getting recharged. Take electricity away and your options quickly run out, and the differences with being effectively homeless go away. Takeaway: the U.S. infrastructure is teeter tottering on the brink of complete disaster. The New York outages should have been a harbinger. Texas now should wake people up, but after the 2020 "Inverse Dunning-Kruger realization" I know it won't happen. I can imagine a large area somewhere in the U.S. losing power - for months, because of the lack of resources and patchwork design elements creating a cascade effect ala New York. There are no rescue plans, and like the situation in Flint Michigan with their water, or places I know in Augusta Georgia where the drainage doesn't work, other situations - they could literally just not do anything if it was the "right" area. We don't live in a rural area - we are 5 minutes from a WalMart, gas stations, banks, McDonald's... with no power for 10 days. "They'll get the power back on tomorrow". Another day: "Surely it will be back today", following day "... they don't know when they'll get the power back on?"... Another reason to get off the grid if you can.

Anecdotes: A brother in law of a student of mine that lives in N.C. did his first gig in months last month. The usual happened: a number of people got sick, and the band, and the guy died a few days ago in the ICU, in his 40s I believe. Another student traveled to visit his parents (70s) at New Year's. Both parents got COVID. His mother died. I remember he'd said "they've been in quarantine, they don't go anywhere, but it will be ok this one time for the kids to visit for a few days we think". I hadn't gone on Facebook since December when I went on last week. A very different tone. Not as much boasting about "covid is just a bad cold", "look at the pussies wearing masks" - but at least a dozen people I know either had a parent that had died from it, or are in the hospital with it. I knew there would come a saturation point when even the most ignorant right wing jerk would realize they ARE being a jerk, and it looks like we're almost there. It's sad and scary. Yet, there are still holdouts. Including a nuclear engineer I know that was very proud of his knowledge of filtration systems, and took pride in telling everyone on Facebook that "masks don't work! The virus can go right through them!". An opinion biased more by his questionable political affiliation than his training. He still apparently spends much of his time informing his friends how dumb and useless wearing a mask is, "why not wear 20 masks? Hahaha!" etc.. Having gone in circles with him back in March, he made a return to reply to one of my posts on Facebook to tell me "one of my friends died of covid, and he was an avid mask wearer! It didn't help him!". So here's a guy that's a nuclear engineer, and he literally doesn't get the premise that wearing a mask is to prevent others from being infected; and he incessantly insists masks can't stop *any* viral particle, despite surely understanding the statistical nature of the term "n95". So I've learned so much about humans due to the pandemic. I had "inverse Dunning-Kruger". I really, naively expected society to handle this differently, and presumed people in general had more common sense. That non-sequiter behavior follows syntactical "logic" above reality has to be *expected* is something I was totally blind to prior to the year 2020. / apologies Craig. I write this for no true effect beyond "here" being a place marker. I was on Fark.com the morning of 9/11; the comments on there that day I think captured a sociological sentiment that one day might be useful. Hopefully one day we'll get past this and the arc of what happened from 2020 forward, attitudes and changing norms, might be captured here.

My guitar lesson business, as it it turns out, was reliant a lot upon having a location that fell in line with people being in transition to going home: from work, from school, from the gym, etc.. For people that view "guitar lessons" like going to the gym, doing it online means I'm competing for their time *at home*. They're not on the way to the grocery store, or an errand outside in a car. They're at home sitting on the sofa, I have to get them off of it and bother. I know this by observing the "state" people are in when they start a lesson, and when they're late, or don't want to bother. Where they hid it before, people just say "I didn't pick up the guitar this week". I think "working from home" is beneficial for people who are auto-didactic, self-starting; which I don't think is the majority of people. It's wrecking/wrecked my business, because the mindset of a lot of people that are working from home partially, or fully, is still passive; the vestiges of "learning a skill as a hobby to further yourself as a human being" is evaporating into the black and white mindset of "if I'm not working things should be entertaining. Is this work or entertainment?". That mindset might favor live music, if it ever becomes safe to do it again, but anything that requires *effort* gets placed in a category of "I'm in virtual because it's work". "I'm at home but I'm pinned down at this certain time every week, and I've got to log on and face reality that I didn't practice this week" = "guitar lessons" now. I get it, but I don't know a way around that and how I keep my business going.

They should. A song is given a fair amount of credit for helping people in Vietnam to be aware of being socially considerate. That it's corny/punny is better, makes it difficult to ignore. The U.S. has done effectively nothing to educate, when there should be a PSA at every single tv commercial break. http://www.youtube.com/watch?v=9o6-TELdvRY

It used to be, but I just looked and see that it isn't anymore; it was a graphical "diode clipping" JS script, which I think is now mutated into the "loser saturation" JS. Ashcat had it in his "Tilt" script, the closest stock script I think is the "Bad Bus Mojo" script with separate +/- thresholds. Chris from Airwindows does a lot of asymmetrical stuff IIRC, I don't know if you're familiar with his plugins....? Look at the "saturation" js in Reaper, I think it's a deprecated version of what I was referencing - I'm not sure where it went, the guy that made ("LOSER"<-- his moniker) it had a lot of plugins that were stock scripts in Reaper, but I think he had a falling out with the devs and took his ball and went home, so to speak. It might be in a in a 5.x version.

I view the whole thing as something of a fool's errand, in that a "guitar amp" is actually a series of stages that can be replicated in any DAW with vsts substituting for each one. Kuruprions is so worried about being "innovative" - forget ersatz amp models and make your own plugin chain that duplicates the "amplifier" process. That's the same difference as having one company put all of the functions into one program. It works better IMO, more dynamic and realistically non-linear. It's actually kind of amusing to realize just how much a "tube amplifier" is really a couple of distortion stages with a tone stack in there. And if you're brave enough to listen to a d.i.'ed amp sound sans speaker sim, it's remarkable how primitive and basic a signal it is *until it hits the speaker*. Doing cascaded eq curves with compression stages+asymetric distortion makes a bigger difference than the modeled amp circuit that's adding harmonics scaled to level through eq. I've got track templates that go like Pultec (input impedance) > LA2 (V1) into Scheps Omni Channel (tone stack) > LA2 (V2) > Reaper asymmetric distortion (phase inverter/crossover distortion) > Scheps Omni Channel (saturation/transformer) > Melda dynamic eq (impedance curve/damping effects) > "speaker sim dujour". One should try that, it works better than you might think if you keep in mind realistic limitations for eq, gain. I tried to mimic a presence circuit wiith Reaper's feedback capabilities, but it was too finicky ( and not likely to yield a fantastically worthwhile result). Although it's a rabbit hole of untold proportions, I've got probably... 20+ templates I spend hours on tweaking. Not advised. Faking transfer curves into distortion with compressors and dynamic eq is more accurate for chasing existing amp tones than the hybrid-faux approach above, though. It's funny how close you can get to a plexi if you just mimic the tone stack and gain stages. So Kuroprions, why are you still using digital models of existing amp designs, why are you so stodgy and against progress?

I was disappointed in how limited the choices were. I was expecting something much more akin to what Positive Grid did. I did like that it "felt" like I was actually tweaking a variable in the software chain, but it seemed a little dubious as to whether it had a 1:1 correspondence. The schematic menuing was a bit clunky. I think the biggest problem with it was the preset/saving process was very peculiar, it was confusing as to whether you had actually saved something as a preset, or if you were getting it back when selecting what seemed to be a preset. I would have liked to have seen a totally modular component level approach.

It's just a curious blip, in that except for the SPX-90 I can't think of any other processor that so quickly grabbed so much attention, and then went away. Little 'micro-eras in audio, like "the "Fender bass" era", "the post MXR/Boss pedal era", "the post X-15 cassette multitrack era", "the ADAT era", "the Mackie 1604 era (still in that, in a way)", etc..

I'm not cherry picking. I said it's a bad business decision to go with just Peavey amp analogs, and you brought up specific products from decades ago. I'm aware of what they sell. It has nothing to do with what I wrote. It also doesn't mean every product they make is a home run. Revalver does not appear to have been a home run. Straw man. Give your presented analogies I don't suppose it would to you. Digital amp modelling was the innovation. Choosing Peavey tube amps as the basis of a digital model instead of a Marshall, Fender or Vox isn't an innovation, nor was it successful.

My position is: *I* don't care for tropes or skeumorphic concepts, or the necessity for traditional reference points. But I can also say that *as a business pursuit* my *preference* is not the same as what I think about what would be *successful as a product*. I don't like onions. But I wouldn't suggest Subway sub shops to stop offering them. If one is going to have a company you want to be "successful", period. There is no other reason to have a company. If the company is Peavey, that makes cheap gear - deciding you're going on a jihad to MAKE people like your alternative choice is a sketchy business decision. They can choose to ignore customer reflex at their peril; it doesn't change reality. In today's market, people want to see conventional analogs - for better or worse. What Mesa did in the 70's is not the same as what Peavey is doing now with modeling. It's a different market, different technology, different time. Again, different time, different technology. How many companies were offering simulations in a box of an amplifier when the Sansamp came out? Versus, how many amp modelers there are now? Sansamp was a unique, singular product. Peavey Revalver, Vipyrr, are not. No, but the 5150 is not a "normal" situation, is it? "Eddie VanHalen's amp model!" launches a product a bit differently than "approximations of Peavey amp circuits!". It's not equivalent. There has been a lot of great gear made, that disappeared because they were striking out with a novel product; that's just the way it is. Without Eddie's association how much of that would still exist? It doesn't mean it's not good, or that I don't like it - it's just the market.

It's interesting how the Finalizer has been lost to time as the fusion-bomb of the volume war. I suppose, because it was at the tail end of the Pre-DAW Plugin Big Rack Era, it seems like everyone has forgotten about the scourge they were for awhile. That eq-compress-limit-clipper I think really put a stamp on what the Average Consumer Expects things to sound like now.

I'll admit, TLDR, .... but searched, People should really check out the CHOW tape emulation on Github. That's all, carry on.

Fair warning: I am not making this up. I have actually heard people say during Q&A at seminars they preferred tape because they could sort of chill, and gather their thoughts while the tape rewound. :Chip, in the 21st century reality will be indistinguishable from comedy" That's selective memory, leaving out all of the times when the singer is starting to be warmed up on a part and..... now they're asking "was I singing "lalala" or "la la lala"? "Chip, in the 21st century reality will be indistinguishable from comedy": I am bracing myself for a DAW that includes a "rest" feature setting for the transport control. "Delay offset for rewind/fast forward (x ms, seconds, minutes)". Which again I shouldn't besmirch, in some situations it might be a good thing; but HAVING to wait and not having a choice was horrible. BUT..... By the same token, the key-board short cut dance in order to do takes and over dubs isn't really any different from a kinesthetic-mind abstration layer standpoint. For some situations the "gottagoasfastaspossiblenotimetousethemousegogogogogog" ... "storming the beach" approach is not automatically conducive to art, either IMO. I've thought about, if my original plans had worked out and I had a physical studio for myself that doubled as a semi-commercial place, at this point I would be doing producing/recording by treating my DAW (Reaper) as ... [align:center] The multitrack tape machine with endless tape. [/align] Because isn't that what we all would have wanted originally, back in the day? I haven't seen any Name Producer work like this, but to me it makes sense artistically, and as a pragmatic, seasoned approach to not going crazy: you make sure you've got the hard drive space, the memory and machine to handle it, and you just 1) let the band set up and then hit "record". They either play to the DAW click, or a prerecorded tempo map, or they... freewheel as a band. 2) take notes and hit markers when there is a good or bad take (not unlike "the old days") 3) marker where a take stops and starts. 4) have your macro set up to dice the takes up into subprojects 5) put it together. More "work" from the standpoint you've got to have good notes, and go find the places where the good parts are (if you're comping...) - but - *it's a much more natural work flow*. The band/artist just plays. This thing of "stop the band, back up, jump through hoops to do a pretend "faux tape machine hard edit-"over dub"" might be the way to record a voice over for a radio spot, but it's NOT a natural way of working to record ART. In other words, it's not that rewind was a hassle, and it's instant now - in reality, we shouldn't be rewinding at all I'm waiting for a DAW that abandons the "temporal shunt" tape-traveling approach to recording, and instead just buffers inputs continuously and displays everything you've done on a *continuous* timeline, that would look like one of those "earth epoch timeline" graphs; the session started "here", this happened "here", "here" and "here". It would change the process from *the illusion* of "rewinding" to what I'd call "true non-linear editing", in that you'd have functions that while in recording mode would behave like "rewinding" (loop to start of track; loop to start of edit point) it would show up on screen as a linear plot, a line with annotated "notes" of the transport controls but would actually be a horizontal representation of a playlist. IMO it's curious how DAWs have started out as visual skeumorphic evolutions of "a multitrack tape recorder" and some have evolved that into a playlist-editing workflow. The playlist is a tacked-on feature; I understand how it evolved out of the underground tracker-music production style, but it's unwieldy IMO in it's present state. If you had a horizontal time-line graphical representation of the playlist it would possibly be the best of both worlds; the faux mechanical-movement illusion workflow and the true digital NLE approach. But without the (IMO) clunkiness of keyboard shortcuts. Wow. Ok, sorry for the detour, had to get that out. I look forward to seeing this in a DAW a few years from now. Oh well. Hah, right, it might happen, we're in an apocalypse movie. I'm not sure if I should mock that either, because I'm presently deliberately going through 20' of unbuffered cable in front of my pedals... .

Hmm... I'm not why you're pursuing this angle, but let me elaborate further: Me citing Peavey for not using "established norms" to give to the users of their product as being detrimental to the livelihood of the product is not the same thing as me saying *I* want clones of certain amps. It's two different concepts: what I think makes sense commercially for Peavey, and what *I* prefer. *I bought Revalver BECAUSE it departed from the typical "ersatz amp model perspective" with the tweakable pseudo component-level circuit settings*..... That's not realistic. Peavey isn't in the business of educating the public to New Idealistic Perspectives. They won't be in business at all if they alienate potential customers. In my experience the wisest thing they've done is put tweed tolex and chrome fascia on their "Classic" series amp line, which has significant differences from the classic amps they may superficially resemble. Well.... some things were good, some not so good. The MKIV boards were tanks, and the ... XR? line. But the CS power amps were weak and were finicky... so much so I have many times literally wapped my palm on the top of many a CS800 and 400 to magically rejuvinate some sort of bad trace I imagine - even won a bet doing it. Something heating up and unseating itself. Never had to do that to a Crown or QSC, but then they cost twice as much. My point is that Peavey doesn't do themselves any favors being the aesthetic rebels they are. I'd love to have an old original Peavey Classic, and I think it was this message board where I've said I love the old Scorpion speakers - may even prefer them to certain Greenbacks, and some of the EVH speakers I like a lot as well. I agree. Peavey really upped their game with the early Wolfgangs, and ... the Model Whose Name I Forget but was their middle of the road super strat around that time.

... but I only want to download something around 2 gb. No response, except in their forum with the perfunctory "you can re-download it for $10". Actually, I think I only downloaded it once anyhow - since I never got it to load in the Sample Tank "lite" version.

You're missing my point, I didn't say I didn't like it because of Peavey amps. By putting ersatz Peavey amps up front in front of a new user - instead of default Marshall/Fender analogs - they're out of the gate alienating a new user. That's not my perspective, but that's reality; if you're going to put the image of an amp on an interface, it better be familiar or expected, otherwise they're simply making it hard on themselves. I'm plugged into a Katana right now. Roland has their own issues with interfacing they've always had with products, but that's another digression. ... I'm not sure what that's supposed to mean? Yeah, that's ridiculous and a mistake. Also indicative of something being wrong with the management structure at Fender, but from what I know that's always been the case. Peavey shooting themselves in the foot with a brushed plastic aluminum "gunz"... There are plus and minuses to almost every gain device IMO. I'd one day like to stick the preamp of a Crate GX practice amp into a pedal, that circuit, and the old Peavey saturation circuit (and the Gibson LAB) circuits are about the only novel distortion circuits outside of the usual I've seen. I'd love to see Craig do an comprehensive article on the development of "the distortion circuit" and it's familial branches. In fact, Craig, you really should do that. The main trunks - fuzz circuits, diode clippers, opamp clippers, 12ax7 overdrives - have been written about pretty fully, but the branches and the weeds have not. The arcane niches - the Schaeffer-Vega wireless circuit, the odd (to my feral inspection) LAB circuit, the Crate GX circuit, these things have their own sounds/topology... man, I get so tired of students asking "what do you think about (Yet Another TS variation)?"... "they changed the center frequency on the tone control, maybe mismatched the diodes a certain way = $200 pedal". Is that all there is to life, Tube Screamer variations and 12ax7 gain stages and some basic eq? Ahrgh.

People are daily, or even weekly doing to the trouble of downloading 2 gb drum libraries instead of saving it on their terabyte hard drives in the year 2021? That's a problem? I'm not doing that. I haven't downloaded the drum library I'm referencing in... 10 years? They could say "download X number of times every X months". Slate doesn't charge me, XLN, Toontracks, others. "Cloud storage"? It doesn't take all day, or two days, to download a 2gb drum library.

I'm with Bobby Owsinski on this. I remember running a studio based on a Fostex B16, it was horrible. Maintenance was a pain. Putting a reel on was a pain. Rewinding a pain. Waiting was a pain. Explaining tape costs to customers a pain. Being careful with reels of tape a pain. Having to have expensive reels of tape laying in reserve a pain. The funniest thing is having to fight it to get any kind of high end snap on drum sounds while having a balanced low end. Having to fight noise on low level signals, "yeah, that was cool when you kind of whisper-sang that part, but listen to it - I can't make it loud enough to be heard without a wave of noise". The occasional static click. Highend going away. On and on. Tonally it was"ok". But you were cornered by that "ok", you couldn't escape or transcend it sonically. Which is fine, might be a bonus artistically - except clients didn't understand that. "No, it can't sound as nice as a million $ $2,000 a day lockout studio, but it can sound good". Ahrgh. No thanks, keep those "good old days", or let me have my MOTU 24 I/O as the "tape machine"....