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mofolotopo posted:IK just put the full version of Amplitube 3 on sale for $99. Just sayin'. I have it and it's pretty frickin' awesome. Seconding, I've got a tooooon of plugins and this one's on pretty much every track with guitars. Easier than the real thing and sounds, to my ear, pretty much as good, if you familiarize yourself with the cabs especially (or if you've got a particular cab sim you like). That S-Gear 2 plugin is no slouch, either, Softube-like quality and approach but with some well-done effects and a price that makes sense for three amps and a few effects (obviously not taking the "whole warehouse of stuff, have fun" approach of AT3, which is really a steal at $99, but the rest of the year the price disparity is fair, I think  ).
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Jul 13, 2012 16:06
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Cross-post from the hip hop thread, 'cause it applies here too and I can't compete with some random dude's nunchuk video over a Satellite High track - Thinking about some plugins thanks to summer sales going on... There's some dumb drama over this plugin because the company had some issues earlier on, but forget the "story" bullshit and what you have is a fully-featured channel strip that's both cheap and good. Mixcontrol Pro channel strip, $49. Three saturation modes each sound good (to give it a "channel strip" consistency used as inserts, or master bus, however you prefer) and the various functions are well done (standout is probably the comp, it'd be worth $50 just for the comp - but the EQ, gate, stereo space adjustment and limiter work very well too). Offers low and high resource utilization mode with effectively no latency in the low-resource mode, so you can track with it or mix with it without issues. I am really digging this plugin, it has no annoying copy protection call & response crap, you just buy it and it's yours... and it doesn't have any bugs in my setup. Cross-platform, and buying it gets you the mono and stereo versions. My only complaint is the metering could be faster, but what it lacks in speed it makes up for in accuracy and ease of readability. You'll have a good idea of what's going on with your frequencies, making the EQ plenty easy to use. Other plugin, and this one should be interesting for rap production, is Voxengo's Voxformer. It's a vocal channel strip plugin that has taken on a much more generalist role in a lot of folks' setups, both because of continued development to make it fit the general channel strip role and because it just worked really well for that from the beginning. But drat is it good at vocals. It won't do your thinking for you, but it'll do the work. Voxengo plugins are always really good bang for the buck, this is one of the best they make. No-brainer imo, if you don't want to spend five times as much or more this hits the spot. Just my opinion, but - I feel these are pretty much the only two commercial channel strip plugins under $250-ish that are worth spending money on, and they bump up, quality-wise, against much pricier options. Not in the Hip-Hop thread, Voxengo GlissEQ is flat out awesome. I don't think any other EQ I've ever tried, inclusive, has added as much to mixing as GlissEQ.
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Jul 13, 2012 21:21
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HollisBrown posted:How is this for acoustic instruments (guitars, banjo, ect..)? I've been in the market for something like this forever now, but I work much more with acoustic sources than VST synths and the like. Very good and quite flexible, three different saturation modes give it three different colorations which are blendable with dry input separately from other processing, or no coloration at all if you choose. I do think it's bumping up against the Slate console emulations in quality, but for about 1/5 the price (and with a different overall feature set and workflow, too; you don't get nearly as many variants, saturation is the only one that has three distinct styles or off rather than wholly modeled console sections), but everything else is quite fully-featured for what they do and it sounds great for the price. Agreed fucked around with this message at 17:55 on Jul 15, 2012 |
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Jul 15, 2012 16:33
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Blessed be Reaper 64-bit's native 32-bit bridging going back a long time now. I'm sure there are plugins that it doesn't cooperate with properly, but I've got VSTs going back to early 2.0 standards and it handles them fine. Haven't ever encountered a crash caused by issues with the VST bridging (well, it's actually just been very stable in general, but that's an area that can cause serious issues if it's not done right so rock on with your Cockos). Just a side note, ever since the proliferation of competing ____ OS in advertisement, mainly on tablets and phones and such, pronounced as "Eye OhEss" or "Android OhEss" or whatever, now I have a hard time not seeing Reaper's developer as CockOS. 
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Jul 19, 2012 17:42
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Noted this purchase in the "new poo poo here" thread, but it probably fits better in this one - y'all should check out Klanghelm SDRR, thing is waaaaaay underpriced for its quality. I asked the dude and from what I can tell PT11 support is in the works, it's just a process that takes time and money obviously, so for now it maxes out at RTAS (full support for VST3 cross platform, AU, 32 or 64-bit, all that good stuff though). The best bang for your buck saturation plugin I have ever personally used. Adios pretty much anything I used Redopter for, and many uses I had for Decimort. d16 group gettin' picked off 
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Jan 2, 2014 00:28
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Should also mention that he made a portion of the Desk mode settings (console emu fans, perk up your ears here) available for free in the form of the IVGI plugin - it doesn't have the same degree of user exposed features, and trust me when I say that the difference is WELL worth paying for, and of course it doesn't have the Tube, Fuzz, or Digi modes, but damned if it isn't a great, relatively low resource quickie to throw on the master for simple projects to go from "this sounds good" to "woah this sounds awesome." Get the full version though, $30 for that much plugin?  I already mentioned it ages ago but he updated it to V2 so fair game, I am also quite a fan of his DC8C comp; V1 was awesome, V2 is killer. It'll do... whatever. Pretty much anything you could possibly want from a compressor. I have not read many instances of people going through the manual thoroughly to understand what all 20 knobs and 8 buttons do and then somehow thinking "eh it's just ok" - fuckers fall in love with this compressor. Here's an adorable 2-knob version that's free, because Tony cares. Klanghelm! 
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Jan 2, 2014 00:44
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Trig Discipline posted:Still haven't gotten my email from them though. Where the hell is my sweet, creamy saturation? Best times to buy: Not New Year He'll get in touch soon though, have faith.
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Jan 2, 2014 16:52
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Trig Discipline posted:He was indeed, and it sounds great. I know, right? What's with this dude, not just my ears, he could totally be charging $250+ for this thing, yeah?
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Jan 2, 2014 22:09
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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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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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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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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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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 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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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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I fuckin' did it, completed Amplitube CS fully. I was only missing the Zvex pedals and I don't REALLY super need their real world counterparts for anything I personally do, but what the hell, I can dick around with them now and if anyone else wants to use them, fine by me. More noteworthy though, I finished T-Racks CS too, including the new Sontec MES 432c emulation, which is really surprisingly fantastic. I say "surprisingly" not because IKMM is bad at modeling and I expected it to suck - FAR from it, I love their gear - but rather because the thing that it offers to usually mastering engineers is kinda subtle, the features are aimed at basically being as awesome as possible in the analog domain with absolutely minimal THD, crosstalk, SNR, etc., and stepped potentiometers for everything it does. The first real parametric EQ. This thing is am-az-ing. There are a lot of good EQs out there. I had my eye on this one for some precision work and I still may nab it, Dave is a great programmer and knows his stuff inside and out - http://dmgaudio.com/products_equilibrium.php. And anyway, I have a lot of great EQs! Linear phase parametric, dynamic multiband with all sorts of shapes, non-linear parametric, and of course all the other character EQ options in T-Racks CS that I'm not mentioning in this post, as well as some assorted other devs' gear. I have never used one that made it so easy to very quickly accomplish precisely what I'm trying to do, and I have some really nice parametric EQ options in the digital realm. It even nails the sort of very light high-end sheen that the 260/432 puts on material, which gives a bunch of tracks all mastered with it a cohesive sound. I'm in EQ love :heart: It's heavy on the CPU, but considering it's largely intended for some great filters plus a few bands of +/-6dB with surgical precision and imparting that treble ... mojo, je no sais quoi, sparkle, "FINISHED" sound across all tracks, I think being "heavy on the CPU" is pretty relative. It does offer up to +/-12dB and it sounds excellent when boosting... Its introductory price is $150/120 credits, and a video of it on youtube shows it going up to like twice that, so if you're interested and you happened to nab a bunch of credits in a group buy at some point, I'd pick that particular unit up now rather than wait around for it. It just sounds so damned good. The stepped pots thing I guess is intended to be an easy analog feature for recall, and maybe that's easier with variable pots in the digital world than it is in the analog one, maybe it's not necessary - but maybe it really, surprisingly helps nonetheless to be able to see the numbers that precisely instead of eyeballing a curve and moving it around. And it helps to be limited to 6, or 9, or 12dB, because it stops you from going too far in any one direction. I'm finding the +/-6dB mode to be extremely useful because it keeps EQ where it ought to be (in terms of parametric EQs): constrained more to necessity, something you use to correct an unwanted sound, not as an effect. This is not a character EQ, but it has character anyway that sounds consistent across tracks. It's hard to explain any better so I'll stop here. I dunno, thing just shines There is a bug in some hosts right now where L/R and M/S aren't retained correctly when switching modes, but they know about it and I expect a hotfix pretty soon with the kind of attention the 432 EQ has been grabbing. The other thing I was missing was the White Channel. I had to pick British Channel or White Channel last time I made a purchase and I feel like I got the one I should have waited for, as I've had several opportunities to use the White Channel's feature set and not as many to use the British Channel's overall sound and less precise gate and different behavior when driven. Ah, well. T-RackS might have been kind of a joke a long time ago but these days this stuff is really, really good. They hold up very well in comparisons to hardware, let alone in comparisons to other plugins. Very happy with the full package (for now, heh). They also updated the saturation behavior at extremes and pretty much every T-Racks CS plugin benefits from that (except, ironically, maybe the 432 because it's so clean). Much more pro sound even when dealing with less than ideally tracked material. It's some kind of big under the hood overhaul that they aren't going into a ton of detail about but which pretty clearly changes a LOT, not hard to test that theory and find out for yourself.
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Feb 27, 2014 14:39
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RandomCheese posted:Is using an iLok dongle a largely hassle-free experience? For almost everybody, yes. Just don't lose it. Edit: A seen below, potential differences of opinion vary strongly. I've never had issues, but I definitely would have during that downtime - which is loving unforgivable in terms of destroying a studio's workflow for that long, since highly iLok invested studios tend to use multiple products from the same developer, and developers like to standardize to a single copy protection scheme. I didn't even know about it because I was laid up with a severe spinal injury and had rather different priorities. Hopefully Pace has taken measures to improve their uptime, maybe even off an uptime guarantee as a matter of goodwill, but (most) everything you use suddenly becoming deactivated would be a massive turn off from the iLok system, no doubt. I wasn't aware that iLok had moved to an always-on internet connection requirement, either; I wonder how recent that is. I'm glad now that I've already found replacements for everything that was previously iLok. Could you imagine getting some sort of zero-day exploit on your computer with a malware delivery package including cryptolocker and suddenly having to pay hundreds of dollars unless you are 100% on point with cold backups and can get them up and running within the limitations only of the transfer speed of your media? Internet-facing studio computers are a pretty bad damned idea, and even call & response server authorizations from all major companies usually offers an offline authorization method using a third-party computer for the actual authorization part. When did iLok move to all online, all the time? Agreed fucked around with this message at 11:04 on Feb 28, 2014 |
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Feb 28, 2014 09:58
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Heads up Windows users, 32-bit or 64-bit, and sorry Mac users: cool new amp sim freebie! This is an emulation PLUS (more on that later) of the AXP aka SoftAmp posted:[The] Frontman 25R was the first guitar amp I've ever owned. To my best knowledge its digital model did not exist, so I decided to fill the gap. And after all, who needs yet another incarnation of say, JCM800? Click the image to go to the download page on AXP's site.  The model is feature complete, and then some. It includes the amp, an expanded stereo spring reverb tank (in mono mode, it uses the amp's original spring reverb tone - in stereo mode, well, just try it for yourself, you'll see, it's neat!), and cabinet emulation, selectable between the original 1x10" combo speaker or an external 2x12" speaker cabinet or neither. It also has a totally loving awesome "AXP mod" switch that turns it into some kind of badass tube amp by replacing all the solid state clippy bits with his triode emulation, and re-voicing the EQ to turn it into a totally different cool amp model. I was a beta tester for the whole process and had no clue that this last bit was coming, he kept it under his hat until release and it turned out great I will take credit for the suggestion to allow for switching between the 1x10" open back original cab or the 2x12 external cab sim, but only in the sense that he ran the idea by me and I said "yeah that sounds like a good idea."It also has a very fancy manual with graphs that would make Ross Perot jealous, including frequency response graphs and good explanations of features and all that good stuff that you usually associate with paying money for. Seriously, this dude knows his poo poo. So those links up there in bold, before the amp, download those plugins too while you're at it and enjoy 'em if you haven't ever come across them before. I hadn't, and I actively try to keep up to date with all sorts of freeware developments, especially modeling-related stuff.  Apparently he just never advertises his software but his expertise is quite apparent.Usage cases include: whatever you want - yeah, it's a guitar amp sim, so run a guitar through it, but it's also great for dirtying up a synth through it, or just turning it way up on its own to generate noise (potentially with reverb!); think it and it can be. The Power is Yours. okay now heads down there's a sniper
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Mar 20, 2014 16:31
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Sorry man I didn't have anything else to add an already evangelized the poo poo out of Klanghelm. The bee's knees, imo. Does seem to respond better to fewer faster cores than many slower ones, though, yeah. That is not uncommon with the development framework being used there, which is kind of ironic since it's a cockos product yet Reaper started life with one of the most prominent goals being "don't suck at multithreading, EVER" because the dude behind it made it on an old Opteron-based octocore system. Well, that's the host, not the plugin, anyway.
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Mar 27, 2014 00:38
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Radiapathy posted:What the poo poo man. Six weeks ago, Waves SoundShifter (for real time time and pitch shifting) was a $500 plugin. Five weeks ago they dropped the price to $149 (when I bought it, woo-hoo). This rules but I am sorry about that for you. Picked it up.
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Jun 10, 2014 01:48
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Earwicker posted:so I finally gave in and bought Spitfire's Albion I and holy poo poo it is amazing and crazy fun to play with can you do a 20 minute remake the Game of Thrones intro, you should do that and post it in the covers thread 
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Jul 16, 2014 20:43
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Haha, gently caress, I had some steambux from selling those dumb trading cards and didn't foresee Valve publishing Ohmicide, I'd actually USE that
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Aug 28, 2014 18:20
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FREEBIES! http://www.kvraudio.com/news/kvrdc14-donations-closed---final-total-announced-27245 Check second place, that EQ+comp is fantastic. I love that guy's plugins! Still need to audition some of the amp sims (been busy as hell and not with audio stuff, hah).
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Sep 6, 2014 01:55
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BKPR posted:KVR is an even split between pedantic dorks and people who type like grandmas. can it be both
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Oct 7, 2014 12:14
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I really like the Amplitube MESA/Boogie pack. It might overtake the Orange pack as my favorite Amplitube expansion since they started working with amp manufacturers; they really turned in a top notch effort here, though I am kind of baffled by the lack of a MkIIC+ model still. Here's a clip of the Mk IV and Mk III, my favorite of the pack. Don't get me wrong, the Rectos sound Recto as can be, it's just not historically my favorite amp - the dual rec in this is pretty tight though, growing on me.  I need to set up a soundcloud, I think, I see Tindeck is up for sale now
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Jun 4, 2016 21:28
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Yeah, even in AT3 I'd find alternatives for cab sim, mainly IRs, but the combination of IR-based and modeling they do in the AT4 cab sim and the intuitiveness with which you can do mic placement adjustments has me using AT4 cabs for everything lately. Doesn't hurt that between the Mesa pack, Orange pack, and AT4's new Marshalls there are a variety of really top notch cab options. I love the Orange pack, as I mentioned - not just awesome amps, but a comparatively large selection of really nice cabs too. At this point I want to see them go back and revamp Amplitube Fender. The Fender amps sound good still and they are still dynamic and all that, but IKMM've gotten better since then. (AT2 era models are a real mixed bag at this point, thankfully questionable ones have modern alternatives - Fender, coming right after Metal, was a huuuuge improvement in their modeling IMO so it's not as deprecated but I know they could improve it if they had the motivation). Agreed fucked around with this message at 14:24 on Jun 6, 2016 |
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Jun 6, 2016 13:58
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Dr. Gain is a new cheap amp sim plugin but it's only 32-bit and Windows only. STA-Delay and MultiCabinet are free plugins from a company called Audified (although they also say "Audiffex" so I dunno). STA-Delay usually costs $50, and IMO it's a really nice delay so that price isn't insane. Very, very cool for a freebie. Here's a quick clip using these three things. I highly recommend checking out STA-Delay, that thing is niiiiice for no cash. Edit: Link to the promotion itself, so you can actually get the thing for $0 https://ask.audio/articles/exclusive-free-summing-tube-processing-delay-plugin-from-audified Agreed fucked around with this message at 15:37 on Aug 17, 2016 |
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Aug 17, 2016 00:42
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I've been using Amplitube 4 since last year when they did the "Power Duo" sale thing and I could get it pretty cheap with the MESA/Boogie pack. It's kept me really happy with my higher gain sounds - I've always been a sucker for the Mark III and Mark IV especially. But it's hard to stay up to date for long, hah. They just came out with a new pack of Fender amps, and drat it I'm a sucker for tweed. I wonder if Tindeck's bbcode still works here? Worth a shot I guess, here's a clip demoing the '65 Super Reverb (... which is totally not a tweed, only BF in the new collection). I got a few more things I want to pick up still, waiting on a credit sale or somethin'. Amplitube got more expensive over the years, but it sounds fantastic and I find it real easy to work with. Plus they read my mind: Agreed posted:At this point I want to see them go back and revamp Amplitube Fender. The Fender amps sound good still and they are still dynamic and all that, but IKMM've gotten better since then. Feel factor for Fender Pack 2 is at least "current gen" quality; it was pretty good for the time period w/ Amplitube Fender but it's been nearly a decade  Going to record more clips of this pack, doing a whole thing on my blog since AT:Fender was big for it back when '57 Twin up next I reckon. Sounds awesome w/ a fuzz in front (or not, I mean, it's raunchy if you crank it).
Agreed fucked around with this message at 19:39 on Feb 11, 2017 |
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Feb 11, 2017 19:33
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On the topic of tape delay emus, GS-201 got an update to 64-bit (at least Windows users did, not sure if Mac did or not) and it still sounds really good.
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Feb 22, 2017 14:19
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I'm wishing I could upgrade from T-Racks 3's Brickwall Limiter to the Stealth Limiter thing they've got now. Gonna have to wait at least until tax return gets in, but honestly I ought to hold off - not like my mixes are suffering too much just 'cause I'm using an older limiter, I never hit it very hard at all and mainly use it as a peak catcher I have got really good use out of Loudmax in the past - didn't know it was still maintained, cool, I'll check that out again. GS-201 as mentioned above did get a 64-bit update, but my final thoughts on it are that it reminds me more of the RE-20 pedal that Roland/Boss put out than an actual Space Echo. It was cool in 2010 but I don't think I'd put it up as a top notch plugin these days. Cool effect but ultimately a little algorithmic sounding? I still enjoy using it to mess around but I don't think it'll make it on any recordings, has some unusual behaviors (and the reverb is odd, but not the same odd as the actual Space Echo units)
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Feb 26, 2017 01:14
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S-Gear does have great sounds, I wish it had a little larger selection of gear (not that it ought to go all feature bloaty, I mean it'd be cool if it had the first really nice OD pedal model for example) but what you get ranges from good to outstanding I like their cab sim approach as well, friendly to user IR collections etc. but also very intuitive to use the integrated IR loader with the included library. Appreciated the mic positions they picked, too
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Apr 17, 2017 21:09
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Probably going to get that to go w/ S-Gear 2. Great amp models but I like the boosted sound and it won't do that too good on its own. I asked on KVR why another TS given that there are so many solid TS plugins on the market, and I think the idea is that there will be other pedal models as well. I'd like that. Got the Fulltone pack for Amplitube, and holy smokes the SSTE emu is fantastic. For sure the best tape delay emu that IKMM has ever done. It just gets it right, from the preamp's effect on the sound to the delay's decay characteristics. A lot of "tape delay" plugins sound more like analog delays if you ask me, but the SSTE sounds right - definitely something to demo in the CS if you're an Amplitube user. TERC is probably better than any of the chorus options available, just IMO. Though the "X chorus" (MXR Stereo Chorus model) from Slash sounds good. But not a must-have if you aren't a chorus fan. I already had the OCD pedal model from whenever it came out, and I like it pretty well but the stand-out from the Fulltone Collection is definitely that SSTE. It's been a long time since I've heard a real tape echo in person, I think 2009 was the last time I got to plug into one and play with it - I don't want to get silly praising it without the ability to A/B the thing, which ain't happening at $1300, but in terms of plugin quality I can comfortably say it is outstanding.
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Apr 30, 2017 14:07
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Couldn't sleep for poo poo last night with too much to think about and nothing to do about all the thinking Used Amplitube 4 for guitars (Triple Rec model from the MESA/Boogie pack clean channel on rhythm, '65 Super Reverb from Fender Collection 2 cranked up for lead), EZdrummer 2 for drums (and you can super tell, I didn't do much to the drum mix the plugin was giving me, just wanted to get this out of my head). I used the Fulltone Collection they came out with for the TERC effect and the SSTE effect. I can't afford a real TERC (at least, it would be hilariously unjustifiable at the moment) but hey I got the pack for like $40 from their big sale not long ago and it's a real nice facsimile. Also very cool that I don't have to worry about moisture getting on the heads of the tape echo 'cause, you know, it's all a huge digital phony I love. I used the T-Rex Replica effect from their Custom Shop on the lead guitars, wanted some contrast in the delays too. Agreed fucked around with this message at 13:33 on Jun 2, 2017 |
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Jun 2, 2017 13:29
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I upgraded from Guitar Rig 4 Pro to Guitar Rig 6 Pro for under $50 and I'm really happy with Guitar Rig 6 Pro at that price. I was very into Guitar Rig 3 back in the late 2000s, and it turns out I still really enjoy Native Instruments' workflow. To be honest I never got into Guitar Rig 4 even though I did the upgrade back when it came out. I was more into Amplitube's amp modeling and that was the deciding factor at the time. Now, though, I've been doing more stuff that would benefit from the ease of assigning controllers etc. - I appreciate the capability to do, uh, synth style poo poo in this software compared to others, and how they enable routing super easily with various kinds of signal splitting and crossover inside the plugin. It doesn't have the most realistic feeling amp models across the board (it does have several stand-outs for quality that seem like better DSP but I don't think they have improved all the models from older versions), but working with them feels especially flexible thanks to the aforementioned capabilities. Great effects options and of course so many ways to control them for creative results. Right now I'm about to stop staying up too late playing a crossover split between their Citrus and AC Box models, with the Orange model doing the lows and a drive pedal before the Vox model to kick the highs more into gear, really liking the sound. And that's so basic, I remember all the out there things you can do with this and I'm excited to be getting into it again. I feel I will use this a lot with synths. I'm not short on amp modeling, and I will probably still track and mix guitar with AT5 Max. This has some really cool sound design potential that feels worth it. Agreed fucked around with this message at 19:07 on Jun 2, 2021 |
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Jun 2, 2021 10:54
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S-Gear 2 has a combination of fundamentally good sounding and feeling amp models and a quick workflow. If you don't want greater amp variety what it has is good. I've seen buzz around the Neural DSP modelers lately but haven't tried them myself. Haven't tried BIAS either, folks seem to like that. And I'm out of date on Overloud though if their current tech is consistent with what they've been doing all along I bet it's good, always liked what they were up to soundwise. My go to this year has been Amplitube 5, which as a long time Amplitube user is really easy to dial in sounds with quickly and I get along really well with the DSP. But there's a lot to pick up there to get your setup customized. Fuse Audio Labs has a nice Bassman plugin, F-59, and I like it without the cab sim as a general drive plugin. Edit: To the guy asking about that humble bundle, check out Vital - it is a newer synth that is just so good, feature competitive with pricier synth software and has a free version. It isn't very limiting, and doesn't restrict the vast majority of features. It just has fewer wavetables, but you can use good free ones and be in good shape. Paid versions give more presets also, plus you can unlock more than 5 text to Wavetables uses per day with a $5 monthly sub or the $80 Pro version. It's like a vocoder kind of thing that maps the synthesized spoken text string to a wavetable so you can play it through your synth. Agreed fucked around with this message at 16:49 on Jun 3, 2021 |
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Jun 2, 2021 23:15
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Yeah, they've got 14-day trials that are not feature limited during the duration of the trial. I'm trialing Neural DSP modeling right now and I can say for sure it's/they're great, not to my ears/tastes uniquely great but it is really easy to dial in quickly for a great sound and feel, and that's probably a difference-maker for a lot of folks. Fantastic cab sim options, though (really really good), each of these that I have tried is a high-end package that have thoughtful and useful features/effects/etc. - I can see these putting smiles on people's faces for sure. Trial Gojira DDD, is my advice. If you find it isn't exactly what you were looking for update though because I have some thoughts that might apply on the other side of trying it, but if your trouble has been getting software to sound like demos, try and see how you fare, it seems like it should be good at that. Quick thought, it reminds me a little of the difference between like Waves modeling back in the late 2000s and others, in that Waves had a significantly more processed sound at that time, which was great sometimes and not so great others - to me it sounds like Neural has some cool stuff going on apart from just the nuts and bolts of fancy clipping that really helps to bring out definition in the low end when chugging, even with a lot of gain, and that's a nice quality as it seems to get at some more of how amps moving a lot of air through speakers actually sound to us - and, fwiw, I get waaaaay less feeling of potential downside to whatever I am hearing here, it's good stuff. Some amp sims do well at this, others struggle, mark in Neural's favor. Don't think it is going to pry me off of AT5, personally, but I might pick up Gojira to have its cool sound in my kit too and get its superb cabs and effects with other stuff also. Agreed fucked around with this message at 15:34 on Jun 14, 2021 |
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Jun 13, 2021 22:11
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I have seen so much cool looking stuff that needed full Kontakt, I'm feeling really tempted to get it when I can to see what this is all about.
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Jun 20, 2021 03:06
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I think I downloaded it via the Izotope Product Portal software. I really like Iris 2, wish they were still making that kind of thing.
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Jun 21, 2021 04:14
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Black Rooster and Fuse Audio Labs are both running big sales right now. Many (at this point, most still) of the plugins currently in the BR collection were coded by the Reimund Dratwa, same guy that does Fuse Audio Labs plugins (though their partnership has seemingly eroded considerably in recent years and more and more plugins from Black Rooster do not feature his DSP - though they are still excellent, I love the RO-140 reverb released this year and Reimund was not involved in that). Fuse has a free Baxandall EQ plugin and a recently released free spring reverb plugin, definitely check those out as they're super useful. From Fuse I can highly recommend the VCL-4 plugin and the F-59 plugin as tools I have loved using this year, as well as their Virtual Pedal Board Bundle. As far as Black Rooster goes, I got the Complete Pack earlier this year (but you should know, those come around seasonally and there is no upgrade pricing to go from owning the complete pack to owning new plugins - the usual refrain being, they're already affordable, and indeed sales routinely put their price at $29 a plugin individually). From this sale I just got the KH-EQ1 and I'm already liking it, and I have used their VPRE-73 all over the place, used their compressors a lot too. And as mentioned above I really like the RO-140. Honestly, it's so many plugins, and I use them when I need that kind of thing - I'm still getting to know a lot of them! While VST3 is clearly not a priority yet (all plugins still coded on VST 2.4 standard, so you get a 32-bit and a 64-bit VST but not VST3), sounding real good sure is a priority. Worth noting, Fuse Audio Labs totally offers VST3 plugins if that matters to you - I don't think it's at a point of hard forking who can use the stuff in any practical way yet but hopefully Black Rooster gets on board with the newer standard before too long. I am gonna pick up one of the Fuse vari-mu limiter plugins on this sale for sure, but I haven't yet decided between the VCL-515 or the VCL-25A. They both do really cool things. Agreed fucked around with this message at 05:12 on Jun 26, 2021 |
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Jun 25, 2021 16:19
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Breaktweaker is interesting and good at what it does (rhythmic chopping and slicing effects, interesting performance tool) but kind of limiting at the same time due to a lack of swing (you can work around it, but) and only six triggers. However the sounds alone are worth the sale price and you might find yourself liking what it can do too. I have enjoyed using it. I love Iris 2! Agreed fucked around with this message at 01:55 on Jul 7, 2021 |
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Jul 6, 2021 23:34
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