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Since we're talking about Mellos I may as well drop this: https://sites.google.com/site/artifakelabs/ Not sure how it compares to paid stuff but it sounds pretty good to me.
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Jan 6, 2014 03:12
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breaks posted:When I demoed it there was quite a bit of lagginess/choppiness when changing certain parameters, which I just couldn't deal with, so it got uninstalled pretty quick. That's not to say that it's a bad plugin though, just some of the technical limitations of the synthesis method it uses I guess. I encountered something similar. The GUI was sluggish to the point it didn't survive 10 minutes before I uninstalled it.
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Jan 6, 2014 04:22
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Just another +1 for the Klanghelm SDRR, been messing around with it and it's amazing how much you can do with it. It's for saturation sure, and it does that really well, and you can make tracks sound thicker and gainier in a simple straight-forward way, but what really makes it is how much texture and personality it can add to a track. Each mode has it's own feel, which is tweakable and almost always usable. For the quality, price, and how much it can be used for, I'd recommend it to anybody and everybody.
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Jan 6, 2014 19:27
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ricecult posted:Just another +1 for the Klanghelm SDRR, been messing around with it and it's amazing how much you can do with it. It's for saturation sure, and it does that really well, and you can make tracks sound thicker and gainier in a simple straight-forward way, but what really makes it is how much texture and personality it can add to a track. Each mode has it's own feel, which is tweakable and almost always usable. For the quality, price, and how much it can be used for, I'd recommend it to anybody and everybody. Alright, gently caress it, I'm picking this up and the compressor tonight.
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Jan 6, 2014 20:13
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The CLA-2A sounds pretty good. https://www.youtube.com/watch?v=t4RbJfs8rTc
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Jan 7, 2014 20:13
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I got two more ultra badass inexpensive plugins. Man, if you dig around there's some killer poo poo hiding out there. One is just filling out the Klanghelm collection, I love love love the VUs on the other plugins so I figured why the hell not get VUMT, it's like $11 after currency conversion and makes gain staging during the tracking and mixing process so, so easy. Precisely modeled ballistics to mirror real VU and PPM behaviors, except where it doesn't make sense to do so - for example, a Type I PPM allows for a 4ms range wherein a transient overshoot of up to slightly under 4dB is not reported as clipping, to encourage analog broadcasters to play the overall signal louder. This was fine back in the early 1930s when the first PPMs were worked on (predating VU Meters by about 7 years  ), and for a long time after, too, since it does allow for a higher overall program level and those short transients are primarily unaffected by the broadcast process when using analog hardware. Of course, when mixing ITB, things are different and short overshoots clip (and can cause unwanted intersample peaks as well when using lossy encoding). This is my favorite VUmeter/PPM. Configure your reference level, set the ballistics how you prefer them, and you've got +/-20dB of trim/boost to throw on a track with next to no CPU overhead. Fantastic plugin. Oh, did I mention it does mid/side processing as well? Yeah, it does mid/side processing as well. How cool is that? All for 8 euros.NEXT on the "holy poo poo this is less than $20, are you loving with me?" list: Clip Shifter 2 Pro. I don't think it's actually called that, I'm calling it Pro, but really it's just the unlocked version with all the otherwise pay-wall'd features. This gem is the follow-up to ClipShifter, which was a KVR Dev contest 2012 entry that a lot of people quite liked at the time. The developer still has an excellent free version for you to get your feet wet and see if what it does is for you and I do highly recommend checking that out before you buy it, it's useful and you can definitely see what's going on with the freebie before you lay down the massive sum of "moderately under $20." On the "what it does" front, it's really everything I've wanted in a multi-band limiter - really robust multiband limiting/clipping options including adjustment for hard or soft clipping should you so prefer; great compression behavior all taken care of in one step in a predictable way rather than having to work two plugins together to see if your limiter likes your multiband comp; multifunctionality on various levels, but especially in the nature of its behavior as a clipper, limiter, compressor, or distortion, harmonic content, as well as careful control over transient response with three algorithms to adjust how it reacts to program material; fully adjustable three-band crossover for its multi-band function along with awesome sidechain; robust oversampling and double-processing to ensure full acuity; and oh yeah it does mid/side too.  Both of these together cost like $30 and you could add a zero on the end of that and still get your money's worth, in my opinion. If you don't have favorite tools for these jobs, this is an awfully good opportunity to find some for way less than you'd expect to pay for their quality. Agreed fucked around with this message at 15:53 on Jan 14, 2014 |
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Jan 14, 2014 15:26
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Agreed posted:NEXT on the "holy poo poo this is less than $20, are you loving with me?" list: Clip Shifter 2 Pro. I don't think it's actually called that, I'm calling it Pro, but really it's just the unlocked version with all the otherwise pay-wall'd features. This gem is the follow-up to ClipShifter, which was a KVR Dev contest 2012 entry that a lot of people quite liked at the time. The developer still has an excellent free version for you to get your feet wet and see if what it does is for you and I do highly recommend checking that out before you buy it, it's useful and you can definitely see what's going on with the freebie before you lay down the massive sum of "moderately under $20." I got SoundToys Decapacitator a couple months ago for saturation magic. I'm very pleased with what it does, but annoyed that I could have bought Klanghelm's entire product line plus ClipShifter for less than I paid for that one plugin.
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Jan 14, 2014 19:58
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VU meters are the business. You can do the nerd thing and find some K-system meters if you want, but it has a whole value system attached to it that tells you some things are wrong and I don't feel right being that invested in numbers. VU is a nice and time tested compromise that doesn't take your focus away from how things sound as much. Who cares if it doesn't properly indicate RMS values. There's definitely one or two decent free ones out there for those looking, but I can appreciate people supporting a good developer. I like this one from Sleepy-Time DSP's STR Legacy Bundle:  (Win x86/64)
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Jan 14, 2014 20:27
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That is definitely a good freebie, and I remember contributing somewhat to the development - the sense that I begged for stuff and the dev saw fit to weigh my begging along with the begging of about a dozen others - and the inclusion of phase coherence makes it a great tool for the master bus, but I wanted a damned vu that was just a damned vu (or PPM  ) that I could put ON EVERYTHING to simplify what had become a somewhat tedious gain staging process. VUMT is basically perfect for that at a price that is just an absolute steal; most VUmeters with remotely comparable ballistics modeling are waaaaay expensive. 8 euros!I use T-Racks 3 (uh... Deluxe? ... wait no CS now) metering on the master bus to check phase, but even after the "Singles" introduction (remember when that wasn't a thing?) it's still more than I want to look at when I'm doing straightforward, basic gain staging. I like that VUMT obfuscates the non-visual and non-concerned-with-gain-staging controls, too, very much set and forget in that regard. But yeah, the whole STR Legacy Bundle is a sweet bunch of freebies and folks should totally check them out. If they're on Windows and all that jazz. Ya take the good with the bad. Paid software is cross-platform and usually nicely supported - I know Tony at Klanghelm is about to do a major update for OSX and VST3, and incidentally Mike at LVC-Audio is also about to do the same, big overhaul for OSX and VST3... Man, VST3 is a hot mess right now. Edit: For developers, anyway. Stuff that ought to just work doesn't seem to just work after all, and the intended improvements aren't proving to be as easy to reach as marketed. VST3 is a good thing, we need to keep the standards going forward and 2.4 was very long in the tooth, standardized in what, 2006? Just turns out that implementation isn't as straightforward as I think a lot of developers were hoping and support across various DAWs is hit and miss. Plus, with so many cool new features, it's not entirely clear to me how some of the more conventional audio programming plugins really need the new feature, though VSTi development ought to be interesting with the fundamental, broad improvements to how audio and midi can work together. Just the adoption phase still, a bit painful for all involved. Agreed fucked around with this message at 04:00 on Jan 15, 2014 |
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Jan 15, 2014 01:25
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Glitchmachines' Fracture is free, today at least: https://www.youtube.com/watch?v=wl_YFwbYLHI http://www.glitchmachines.com/downloads/fracture/ Looks pretty cool/powerful for a free VST
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Jan 31, 2014 00:10
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ashgromnies posted:Glitchmachines' Fracture is free, today at least: This looks very cool. Thanks for the heads up!
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Jan 31, 2014 02:35
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I finally finished a Reaktor project I've been working on and would really appreciate it if some of you would download it and check it out before I upload it the NI user library. I call it Platter.  Basically, I sampled 128 vinyl runouts and lock grooves and made this ensemble for creating a near infinite amount of popping, crackling, and hissing record noise. I hope you enjoy it. Please let me know if you have any problems with it. Click for hiss.
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Feb 5, 2014 06:51
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That's really cool. I loaded it up in Reaktor and it works fine there (and sounds great), but when I tried to add it to Maschine I started getting crashes on the program startup. It could be something I'm doing wrong, I put the .ens into the Reaktor Library folder and told Maschine 2.0 to rescan, it didn't show up in any lists so I restarted the program and that's when the crashes started. Moved the .ens away, rebooted the mac and it started opening again alright. Is there a better (or actually correct) way of integrating this into Maschine? I have practically zero experience with Reaktor. Edit: I figured that bit out, just had to load up an empty reaktor instance on a track and then navigate to the .ens to open it. Now for a new question, can I actually "play" this at all via the controller or is it just always on if the ensemble is loaded? Gym Leader Barack fucked around with this message at 09:28 on Feb 5, 2014 |
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Feb 5, 2014 08:58
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Sorry about the issue you had with Maschine. I don't have one and can't test on it. As for "playing" the ensemble, you can't. It's either off or on. It was intended to be used as a sound source for either re-sampling your own record noises for further processing and layering, or to just run in the background to add some record grunge to a track. I'm pretty certain mapping a controller or button to the on/off switch is possible, so you can do that to automate it's on/off state. I'd be interested in hearing what exactly you meant by "play" it.
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Feb 5, 2014 14:58
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I mean can I trigger it to start up at certain times or for a certain length? Yeah prettymuch mapping on/off to a controller so I can have it appear at certain sections of a track, but resampling is probably the best bet as I can grab as long as I want and then chop it up on the maschine pads to fit it wherever I want, that didn't even occur to me. Don't worry about the maschine issue, it's more likely the result of me clicking the wrong thing when I was flailing around blindly trying to add it into the presets list. Platter has been solid and stable since I figured out how to correctly load it. Thanks again for the ensemble, I had been wondering recently how to add some atmospheric hiss to some of my tracks and then you show up with this fuzzy, crackly wonder. I'll let you know when I put it under a song.
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Feb 5, 2014 15:56
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RandomCheese posted:I mean can I trigger it to start up at certain times or for a certain length? Yeah prettymuch mapping on/off to a controller so I can have it appear at certain sections of a track, but resampling is probably the best bet as I can grab as long as I want and then chop it up on the maschine pads to fit it wherever I want, that didn't even occur to me. You can add this functionality easily. Edit the ensemble and add a MIDI In->Gate module. Attach it to the final Multiply module before the Smoother going in to the Sampler Loop device. Set the Min range to 1 in the Function tab and check the Mono box. Now, the device will only play when a MIDI note is on.  e: Feel free to delete the 0 constant as well. Don't know where that snuck in from 
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Feb 5, 2014 16:25
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RandomCheese posted:That's really cool. I loaded it up in Reaktor and it works fine there (and sounds great), but when I tried to add it to Maschine I started getting crashes on the program startup. It could be something I'm doing wrong, I put the .ens into the Reaktor Library folder and told Maschine 2.0 to rescan, it didn't show up in any lists so I restarted the program and that's when the crashes started. Moved the .ens away, rebooted the mac and it started opening again alright. Is there a better (or actually correct) way of integrating this into Maschine? I have practically zero experience with Reaktor. FYI you can now save your pad with the Reaktor ensemble loaded as a Maschine instrument to reuse it. ashgromnies fucked around with this message at 04:05 on Feb 6, 2014 |
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Feb 6, 2014 04:03
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God help me: I just upgraded to Reason 7 from Reason 1. I bought that like... 14 years ago? What the hell?! Why you ask? Good question. I guess I don't really have a great... (wait for it) reason.  I have a couple bad ones though. One is that I've felt in a rut lately with my software (so clearly the answer is more software? -- I know, I know: specious logic at best), and I need to get back to just making things. Sounds, sketches, pieces, doodles, ditties, blurps, songs, tracks: whatever. I guess this also explains the earlier moment of questionable decision making where I took advantage of lifetime free updates for my FL Studio purchase back in 2009 and grabbed FL Studio 11. I'm sure there's a better thread for this sort of... whinging?, but I don't know where that thread is. Anyway. Obligatory content, ahoy!: Oldstench posted:I finally finished a Reaktor project I've been working on and would really appreciate it if some of you would download it and check it out before I upload it the NI user library. So yeah, this crashed Reaktor 5.8.0 immeidately after warning it was made with a newer version. Just FYI, no biggie to me. You might want to specify that somewhere though. I updated to 5.9.0 and the ensemble loaded fine there. I'll echo the earlier goon who asked for some labels, though I think I have a rough idea of what you've done control-wise just from looking at the GUI and twiddling "knobs". I'll try to mess with it some more tonight with proper headphones instead of monitors in a fairly noisy (background noise-wise) office environment during midday. Also, I don't think I saw a randomize option/control in there, that might be nice to attach to the controls (either global or per knob set), unless I misheard/misinterpreted a control (which is highly likley). Again, I'll give it a deeper listen and try to get back to you with better feedback. minidracula fucked around with this message at 04:41 on Feb 6, 2014 |
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Feb 6, 2014 04:36
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So my dad bought me a copy of Ohmicide for my birthday. It's one of those VSTs that creates instantly interesting results just dropping it in but has an overwhelming amount of elements to play with if you want to "master" it. Those of you who use it, do you typically add it to an effects chain dedicated to one synth (or drum kit) or do you throw it on a Return track and send multiple synths through it. Right now I'm in the baby steps learning phase so I'm experimenting with both. Also if you know of any in depth tutorials on it, feel free to share. edit: This is a pretty good intro https://www.youtube.com/watch?v=xwtpa6RFZnQ
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Feb 6, 2014 22:02
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Hey, do any of you know how to get Effectrix working as a MIDI-controlled effect in Reaper? I did a bunch of twiddling and Googling last night, but none of the suggestions I could find actually worked.
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Feb 6, 2014 22:22
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Anal Surgery posted:So my dad bought me a copy of Ohmicide for my birthday. It's one of those VSTs that creates instantly interesting results just dropping it in but has an overwhelming amount of elements to play with if you want to "master" it. Those of you who use it, do you typically add it to an effects chain dedicated to one synth (or drum kit) or do you throw it on a Return track and send multiple synths through it. Right now I'm in the baby steps learning phase so I'm experimenting with both. Also if you know of any in depth tutorials on it, feel free to share. Either way can be useful. It has a wet/dry balance so you can make it less brutal and ovepowering. Generally I use a little bit on bass sounds with the bottom end having no processing on it, then blend in a little bit. Makes phasers and whatnot have a really pronounced effect. EQ going in has a big effect, have a play
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Feb 7, 2014 06:01
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Here's the comprehensive version of what I think, initially, about some recent acquisitions from LVC Audio, maker of the fantastic ClipShifter 2 plugin I got not long back. Unlike Clipshifter, these two are strictly commercial plugins that don't have a freeware aspect to them, but I think if you give them a shot (they have demos) you'll agree they definitely pull their weight and can both be had together for less than the price of one processor from a major software company. First, the multi-faceted preamp modeler that isn't tied to any particular real world pre in its various models, PreAMPed.  It's coded to deeply model the interactions between pretty much every component in the twelve preamp models that are all very different takes on a given style, yet doesn't model specific preamps. Rather, it takes an approach somewhat like Klanghelm's: that you can do very much by ditching the idea that you have to perfectly recreate something analog in the digital space, and instead taking good advantage of digital freedom to create great new things that bear a relationship but not one of parentage to prior analog gear. That said, there are some definite similarities between the twelve preamp models, which all have very different behaviors, and well-liked commercial preamps, in terms of "style" of operation/general sound. If there's a specific character you're looking to impart to a mix, you can probably do so once you get to know this sophisticated but straightforward plugin. I have to say, I really respect the creative ethos of "these aren't emulations, these are digital preamps which give you as much analog character as modern DSP allows without being tied to specific models" approach - I used to pretty much go exclusively in for the console emulations that model this or that, but more and more, thanks to companies like LVC, Klanghelm, and SKnote, I'm starting to feel like there's a huge range of awesome stuff you can do without ever really thinking of a non-ITB-mixing approach. And if you feel like you're missing out on some of the features that faithful, higher priced direct emulations bring to the table, there are a number of really cool features that this plugin offers to get you on board, including (among other things - check out the manual for a full feature listing, it's really extraordinary) automatic one-step makeup gain for each preamp model's Drive parameter, fantastic visualization, great metering, very effective mid/side processing and global EQ functionality that can either be set to change with the preamp model specifically to fit in and emphasize its character, or set to a very good sounding "standard" global setting. Virtually everything changes from model to model, including the very cool transformer modeling (which the developer, Matt, explained to me in some detail and which is frankly really rad), the impedance relationships within the circuit, and even the "Noise" option that (optionally) injects a realistic, modeled noise floor with a sound character based on the type of preamp model being emulated. I am really enjoying getting to know this plugin. It can be used subtly or overtly, and isn't nearly as finicky as some preamp plugins that similarly invite multiple uses as inserts and on the master bus - you just set it up and it works really well. CPU load is quite light, even with oversampling enabled, though it varies a bit from model to model. The other one is a very, very good transient designer, Transector.  It's basically what it says on the tin - a really high quality, very functional transient designer. I'm sure I don't have to tell y'all this, but you kinda have to have a good transient designer in modern mixing and production, regardless of genre. It's an incredibly useful tool, and in this particular case includes the general features that LVC has established as part of the "package," including top notch metering, a very clear waveform interface that helps you visualize the changes you're making so you're working with your hands, your eyes, and your ears; mid/side processing, a great clipper/limiter, a high quality saturation algorithm, and lots of really good, creative stuff that you would never expect to get for such a low price. Seriously, check the features page, it's badass. I am not at all used to getting this much out of a piece of software for such a low price. My recent search for affordable alternatives to high priced software has netted some pretty amazing results. Both of these for anywhere from $25-ish under the cost of a $100ish processor, to waaaay less than you'd pay for similar quality tools from extremely high cost developers. The only drawback is a lack of ProTools plugin format support. Agreed fucked around with this message at 11:58 on Feb 10, 2014 |
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Feb 10, 2014 11:55
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That's cool, man. It's pretty easy to get recommendations for $200 and up kind of software and it's also easy to get recommendations for free plugins that may or may not be mostly there. It's really refreshing to find out about those $5-$100 gems. I do need a good transient designer and the free stuff's not cutting it. I should go check that one out soon.
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Feb 10, 2014 13:21
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Flipperwaldt posted:That's cool, man. It's pretty easy to get recommendations for $200 and up kind of software and it's also easy to get recommendations for free plugins that may or may not be mostly there. It's really refreshing to find out about those $5-$100 gems. Yeah, that's been my interest in this - I feel like it is really, really easy to see which of the top end price contenders are worth going with and why, and freeware lists abound, but there's this sort of nebulous low priced commercial space where the question is are they inexpensive because they suck or are they inexpensive because they're a terrific value? I'm sussing through a shitload of them as part of an overall larger project and basically posting the ones that I find to be really terrific here. Not going to waste folks' time with the poo poo ones, aheh, but the good ones, attention could totally be paid Like $30 for a really good transient designer is bonkers, and it's got features you don't often see on even much more expensive ones. I love the three band element - yeah, okay, it's got attack... and release... and sustain??? huh, that's odd for a transient shaper but let me give it a shot, hey that's nice! And lots of little touches that show the developer knows what makes a tool useful and why. Feel like if I continue I'm not far from being able to put together a really comprehensive, "you could track and mix an album of virtually any material with this" kit of software that all slots into this affordable space where it's hard to know if you're getting great stuff or taking a risk. Well, I'll risk it, and if I find cool stuff, I'll share.
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Feb 11, 2014 00:37
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I'm kind of fond of Mr. Alias Pro. http://www.thepiz.org/plugins/?p=Mr.%20Alias%20Pro Pay what you want... I paid $6.66 and bought all of his band's albums on Bandcamp ($1 for the "pay what you want" ones). I think it's worth way more. There's a bunch of presets at http://xenossoundworks.com/mraliaspro.html - also, pay what you want.
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Feb 11, 2014 03:51
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im_sorry posted:I'm kind of fond of Mr. Alias Pro. http://www.thepiz.org/plugins/?p=Mr.%20Alias%20Pro Haha, the feature list. "Better-sounding "Pro" GUI with realistic wood sides" ... "And much more! (not really)"
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Feb 11, 2014 13:33
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I'm going to ask a more "meta" question than just bringing up a specific plugin - do you people find that as you learn more you have less interest in trying out different VSTs? I've been playing with synthesis and I've found that I can do an awful lot in Renoise with the built in sampler, it can cover a huge amount of subtractive synthesis stuff. Looking at that Mr Alias Pro VSTi... I'm not too excited, it doesn't seem to have a killer feature that would make me try it out. It seems like it has a feature set that I've already got covered. I just seem like I'm happier with stuff I'm familiar with right now.
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Feb 11, 2014 14:44
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I guess you're right to the extent that things generally work the same way. Mr. Alias Pro and a lot of other VST's might just sound crappier in a better way, though, and that's where the variation comes in. Most people I've heard talk about this stuff say that you should start with a limited toolset to learn all the basics, often with the end goal being the realization you've just had. You don't "need" a thousand VST's, but once you know what you want, maybe the subtler differences are worth actually getting into.
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Feb 11, 2014 15:07
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the wizards beard posted:I'm going to ask a more "meta" question than just bringing up a specific plugin - do you people find that as you learn more you have less interest in trying out different VSTs? I've been playing with synthesis and I've found that I can do an awful lot in Renoise with the built in sampler, it can cover a huge amount of subtractive synthesis stuff. Looking at that Mr Alias Pro VSTi... I'm not too excited, it doesn't seem to have a killer feature that would make me try it out. It seems like it has a feature set that I've already got covered. I just seem like I'm happier with stuff I'm familiar with right now. I agree with this but I also made a conscious decision to focus on using what I have instead of lusting after new plugins. You can do so much with just a few software synths that there is really no need to build up a huge library.
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Feb 11, 2014 15:34
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I don't see much of a point of collecting VSTi stuff, you'll almost certainly know what you need and why you need it - and as far as VSTs go, unless you have some special reason or interest that justifies collecting, in general it's much better to nail down the tools you need and just get really used to them and grasping how they fit into and improve your overall workflow. Ideally you become expert in the tools you actually use as opposed to having what are, basically, a shitload of de facto "black box" tools that you don't understand as well but which you know do kind of a mojo thing that might work on a given track or in a project. I think that latter approach doesn't really help you do your thing as well as you could. I think it makes good sense to take a similar approach to if you were mixing with a console and a rack and all that jazz - you'd have a good set of specific tools that you really get to know and use, and the more comfortable you are with them, the better your tracking, mixing, and mastering goes. Just because there's a lot of freedom in ITB mixing doesn't mean you should kinda collect stuff to the point you end up tons of options but not enough attention paid to your heavy hitter tools of common use, if that makes sense. Agreed fucked around with this message at 15:54 on Feb 11, 2014 |
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Feb 11, 2014 15:51
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the wizards beard posted:I'm going to ask a more "meta" question than just bringing up a specific plugin - do you people find that as you learn more you have less interest in trying out different VSTs? I believe I can see this pattern in the worst of the music forum hardasses. Even though GearSlutz is mostly about hardware and KVR is mostly about plugins, you will find that for every GS guy who says you can't make good music on anything but an actual Jupiter-8 you'll find a KVR guy who responds to EVERY non-u-He plugin thread with "this doesn't do anything that Diva can't do better." In 9 out of 10 cases, these will be the same guys who never have SoundCloud or BandCamp links, and never post any audio examples to back up their claims. They're just stalling by prioritizing gear over all else. Thanks to SA RockStar and some personal exercises I was already doing to keep my head immersed in actual music making, I only buy new stuff now if I am in the middle of a project and I have a specific sound or effect or processing technique in mind that I don't know how to achieve with my existing stuff. Also, before I start looking to purchase new solutions, I'll take a look at what I do already own- and I frequently discover new features or components of Cubase, Guitar Rig, or Reaktor, for example. So to come back to your question, at least in my case, it's not so much when I LEARN more that I buy less, but when I DO more musically. Radiapathy fucked around with this message at 16:22 on Feb 11, 2014 |
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Feb 11, 2014 16:19
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I've limited myself to only buying Massive as far as soft synths go, at least for now. I'm at the stage of my development where I am still trying out a ton of different ways to make music - chopping up loops, laying down samples, sticking samples in a drum rack, throwing arpeggiators on things - and for the most part, Live Suite's included set of instruments is more than enough. Massive just broke through that wall because its modulation parameters and LFO options and whatnot are laid out exactly how I'd expect. I kept banging into "why can't I modulate that parameter? Why am I limited to this?" with Analog and Synth1 and eventually broke down and got Massive. I feel really productive with what I have; "productive" being a relative term since I'm still at the "noises set to rhythm" phase of my development. I've only been seriously practicing for a couple months so I know I've got a while yet before I start developing enough of a knowledge base to have a preference for a particular effect; I'm still at the "wait, a filter delay does what?" stage. That said, one thing Suite is missing (as far as I can tell, anyway) is a transient designer, so this: Agreed posted:very, very good transient designer, Transector. is exactly what I needed. I'm not really into paying $200 for SoundToys' transient designer - not yet, anyway - so thanks for this!
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Feb 11, 2014 22:08
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Agreed posted:I don't see much of a point of collecting VSTi stuff The only thing to collect are Kontakt libraries quote:you'll almost certainly know what you need and why you need it - and as far as VSTs go, unless you have some special reason or interest that justifies collecting, in general it's much better to nail down the tools you need and just get really used to them and grasping how they fit into and improve your overall workflow. The biggest attraction of a demo plugin is having 100+ new presets to play with which'll make you feel happy initially, and then you figure out "oh, also 3 osc, also 2 filters, also ADSR" - *yawn* and the rush is gone. Then you calculate what you paid per preset and feel bad about it. One way to fight it is to think of 'm as physical things so you'll stop filling your studio with similar stuff. Though with synths there's the argument that since you can't exchange say, filters between plugins making certain sounds may be easier/faster on some plugins than on others. I wouldn't know what plugins to add unless I wanted to support the developer.
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Feb 12, 2014 00:15
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Has anyone done any significant diving into BreakTweaker? I need a drum synth, and that thing looks like way more than a drum synth but ALSO a drum synth (and a great drum sample library!) I tried the demo, and it's neat and looks super fun but I don't know enough to know if it's worth the money. Someone with more experience than me should weigh in. I'm sort of looking for an excuse to violate my "no new instruments until I finish a track" rule
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Feb 12, 2014 00:46
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Laserjet 4P posted:The only thing to collect are Kontakt libraries And oh lord there is no end to those. I just bought the Embertone violin and cello, and they are just absolutely amazing. Take forever to load, but it's worth it.
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Feb 12, 2014 04:39
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Agreed posted:"Better-sounding "Pro" GUI with realistic wood sides" It looks like beech wood to me!! And, based on the knowledge I've acquired after reading the book "Identifying Wood", it looks like  the beech wood is coated several times with C37 lacquer for best sound as pointed out by Dieter Ennemoser. How can this make a difference??? Well, hearing is believing as we always say. The sound becomes much more open and free flowing with a nice improvement in resolution. Dynamics are better and overall naturalness is improved. So, yeah, it is better sounding. He also has a "Harsh Noise" VST at http://www.thepiz.org/plugins/?p=Harsh%20Digital%20Nose - you take two pictures and it turns them into.... something. Unfortunately, it doesn't have realistic wood sides, so it usually sounds pretty bad.
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Feb 12, 2014 06:04
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Ever since I added the wood sides to my Shruthi, it sounds like a vintage Moog. They say it's the ladder filter, but really it's the wood.
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Feb 12, 2014 10:30
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Dessert Rose posted:That said, one thing Suite is missing (as far as I can tell, anyway) is a transient designer, so this: How do you like it? I'm finding it very useful, personally, but would love to hear more opinions. Tomorrow's a snow day for my wife (marry teachers, everybody! Poverty never felt so righteous!) and I'm going to spend it revisiting some older projects and gathering some material around to run some of the tools I've collected lately through their paces to see just how well they can hold up. Initial positive impressions are fine and dandy but I want to know just what this sucker can do. On paper, it looks really powerful, and some early usage suggests "this is really powerful," just need to spend some time getting under its skin. Speaking of which, it's a god damned shame that it won't ever have realistic wood paneling to round out the sound. There's only so far you can go without that, it's a must-have feature and I regret that so few companies take the time to bring true joy and beauty into the world. Just sad, really.
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Feb 12, 2014 10:47
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Laserjet 4P posted:The biggest attraction of a demo plugin is having 100+ new presets to play with which'll make you feel happy initially, and then you figure out "oh, also 3 osc, also 2 filters, also ADSR" - *yawn* and the rush is gone. Then you calculate what you paid per preset and feel bad about it. One way to fight it is to think of 'm as physical things so you'll stop filling your studio with similar stuff. For me, it's more like: Buy synth plugin, delete presets, twiddle knobs and read manual. The rush starts when knobs get twiddling and it ends when I've learned how to use every feature of the thing.
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Feb 12, 2014 17:13
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| # ? May 19, 2024 02:37 |
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Since we were talking Spectral Analyzers earlier, MeldaProduction is having a half-off sale on its MMultiAnalyzer for 29 Euros / 39 Dollars during the month of February. It supposedly combines a spectrum analyzer, sonogram, and "collision" and "loudness" analysis. I have no experience with their products but it looks interesting.
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Feb 13, 2014 03:59
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