Hey INRI, totally agree with Harley . Simple answer is yes, we've got some idea how it works.
So  technicalities later. Let me say, I did a comparison to a MP-1 (that I'd just bought) with my '73 Marshall 50 (which I'd loved and used for many years). The MP-1 made the Marshall sound like a toy amp (no easy feat?).  While it's not as easy as pressing one button, you can make these preamps sound however you want them.  I think they were chasing a circuit that let you make any amp sound you wanted.

So given most of the tone is initially generated in your fingers, and PUs make a big difference BTW, from an amp perspective, the pre-amp does most of the tone, and tubes do a good job.  While not exclusive, most guitar tube input stages are based around 2 x 12AX7 tubes.  So 4 stages of gain (each is a twin triode).  So what ADA did was take that structure and make it customisable.  So each (most) popular amps have a similar 2 x 12AX7 circuit (i.e. add gain to input), but implemented it different ways.  So what if you could mimic that (by varying the circuit around the tubes) which is what ADA did (and what made the other amps different).  Something to remember for context, amps at the time had only just got master volume and at best had 2 channels which only some let you switch between.  So ADA used digital control circuits to control the analogue tube circuit so you could change and configure what you want.  The best version of that approach is the MP-2 where they created 10 tube "voices" to cover all situations and make new sounds.

So in the tube circuit, ADA made a bunch of things controllable, eq and gain between the 4 triode stages of the tubes (i.e. the voice), other tube control parameters (bias?), all these settings and variables could be changed "on the fly" as they are stored with each (128) program.
Along with volume , master volume, chorus etc.  They also made it stereo (sort of), when the signal hits the chorus (either in or out) the signal is split A & B with B 180deg out of phase (i.e. pseudo stereo). This is also very much part of the magic (for me). 
So more Magic? Well not really, I think they tried (and largely succeeded) in emulating (with real tube circuits) all the other amps of the time. What I loved was I could develop my own tones .

Hey Richard,

   First, let me say this. The desktop PC I'm using is a Dell. At best, Dell are flimsy these days compared to what they used to be. I'm running windows 10 on it and it's a pain in the a$$. It glitches and hangs up when it has plenty of RAM to spare and it shouldn't. So it might be the PC that is causing the disconnect or the missing pathways to the audio interface. For all I know, the Focusrite might work flawlessly with the Mac. Speaking of which, the most expensive Macbook Pro here is around $6k. A it out of my price range. The one I was looking at has 1 TB disk space and 64 Gig of RAM.
   There are outboard adapters for the Mac to use USB C and other connections, and they aren't that expensive. If by dumbing down you mean simplifying the process, then why should I keep doing things the hard way? I'm not a Catholic, so I don't see a problem there.
   Just like the ADA that gives me all the amp tones I could want in and easy to use package with fairly simple controls to get my sounds, I want the recording process to be just as simple. Hit the record button and GO!
   IF I can't get that from a computer, then I do still have my 8-track and mastering reel-to-reels, and a mixing desk. If it comes down to it, I'll record on them and mix down the final product to a PC and save it as a wave file.
   I'm just looking for a system that is as plug and play as possible. I don't want to spend my time learning how to rewrite codes and software just to get a simple task like this done. With windows that seems like all I'm doing is re-writing pathways and installing this driver and that, then trying to trim out all the garbage that comes along with all those things that I don't need, then trying to reconnect what shouldn't have become disconnected in the first place. Yeah, as you can tell, I'm ready to kick windows to the curb. 

Hey INRI,

   I can't tell you anything about magic, but I can tell you that the MP-1 does things like this when you manipulate the tube gain levels, and combine that with the way you set your EQ, and maybe add some of the chorus effect in creative ways, you get what some would call a "magic" tone.

  By selecting the voice you want to create from, i.e. S.S. Clean Tube, or Dist Tube, there's a lot of ranges in those voices. It's all about selecting the right voice and tweaking it the way you want to hear it, and that's the key. Use your ears.

   The MP-2 on the other hand does not do the S.S. voices that the MP-1 does since it has no S.S. voice at all. Everything there is all tube voicing. It does every tube voice from crystal clean to gnarly dual rectifier tones and all points in between.

   If I had to sum it up, I would do it like this: These ADA preamps are not modelers, and they don't have DSPs. Instead think of them as extremely versatile amplifier preamps that do what no single amplifier can do.

   That's why they're legends.

I was wondering: what is the magic of these units for them to have different voicings? How can it go from sounding like a fender clean to cranked marshall? Chat GPT was brainstorming and going all about the DSP being able to change tube bias on the fly etc. But that sounds extreme. Do any of you guys have any idea how this works?


As you may have noticed Im all out fascinated by these units even though Ive never been nearer than 500 miles to one.

Hey Harley, I feel your pain my friend .

Like you, I just wanted to get recording again.  Some of this I've posted before but here's the journey for me (not quite over but it's all working very well so far).
So I bought a Focusrite 8 in/out.  It was a hassle and intermittent with my (now retired) Win7 laptop.  So I quickly swapped it for the PreSonus 18/24, basically much the same 8 in/out (slightly better controls BTW).  The PreSonus has a Universal Control app/driver which worked fine, connected easily and is very stable and consistent, moreover it sounded a bit more musical, warmer and less stark/clinical.  It also comes with Studio One software for free which works fine "out of the box" with all I needed for now.
So I needed a new PC so I went for a MSI Creator Z17HXStusio A13VGT fully loaded with 64GB RAM, and 2 TB SSHD, latest Intel chipset.  It's a gaming/creative lap top so also has high end nvida card which can share processing.  Screen is photo quality17" touch which also works well (my thought good for mixing).  So this cost around $3k USD ($4.6k AUD) but is the equivalent of the most expensive MAC book Pro (~$6 to $7k AUD).  It comes with Win11 Pro.  After getting rid of the gaming stuff (what I could easily), it's been the best computer I've ever had. Everything connects and works seamlessly (2 x USB C/thunderbolt4 lightening, USB A (3.0), HDMI, SD Card reader, and it doesn't even raise a slight sweat when recoding/mixing etc.

As a long time Windows user, I struggle to "dumb down" to use a Mac.  There's no delete key (have to go to the right and backspace ), no srcolly mouse wheel, no right mouse button or menus, to burn a CD you have to drag the file onto the CD icon and then have no control of the settings (took me ~15 frustrating mins to work that out).  I'm sure once you are used to them they are ok(ish) but then you are locked into the Mac ecosphere (proprietary and expensive).  No (or very limited) I/O connections, it's mostly all wireless or bluetooth.  I don't think they have USB C, just thunderbolt proprietary (if at all).  They don't have a USB A connector, you have to use an Apple iPad Camera Connection kit to connect to whichever I/O you use/choose.

My 2 cents worth, bight the bullet and buy the same or similar MSI that I bought with Win11. Swap the Focusrite for the PreSonus.  My gut feeling is when you install Cubase on that system, it will all work fine, but if it doesn't, just use Studio One.

Or the cheaper starting point maybe swap out the Focusrite for the PreSonus, with it's Universal Control app/driver you'll probably get everything to work with your Dell (IIRC Win 10?).  Add as much RAM as you can (it's really cheap these days).

 

so....the two closest to the rear of the unit?

IF I'm not mistaken, as I was looking in the chassis at the four transistors, I think I traced the circuit from the B channel to the two on the right. This is as I'm looking at them with the three legs pointing towards me.
If I traced the circuit correctly that is. I'm nowhere near the level of MJMP.

Yeah, if something else is FUBAR, maybe those transistors won't get fried. My question is; which two run channel B? I would only have to change two instead of four parts.

I guess that's another reason to change one part, and then check

Rather than start a new thread, I'm reviving this one.

Where to start...Focusrite + Windows = Headache.

It seems like the Focusrite constantly wants to disconnect itself from the desktop as far as the DAW is concerned. I don't know it it's Cubase, or Windows, or just the stupid Dell Desktop I have.

So, I'm looking into replacing ALL of it!

Starting with the PC. I've been looking at a Macbook Pro to start with. A bit pricey at $2500 USD, but I imagine it will be better for networking and maybe even the DAW. I may try the Focusrite in that before I commit to a Presonus. I'd like to salvage what I have before spending all that cash on completely rebuilding the entire set up.

Has anyone here with a Mac tried any of the Focusrite hardware, and if so, can you offer any suggestions/advice?

I'm just sick of trying to record tracks and it looks like I'm doing it, but the end result has no sound.