And the reason i say is that frankly, it’s a plastic-y smoothness, and it’s use is not all that apparent until you send a channel’s sound out to another channel and use this compressor.
I suggest in the newly created channels add the effects you want to use and then add the buss compressor.
You know, I was surprised, I was able to take a vocal that was very one dimensional and by using four of these bus channels I was able to make it sound like something almost live. This compressor I guess by no means is the best of its kind; but perhaps it does sound the best.
It just worked out that way I guess when they made it. Hats off to minimal systems for creating something useful.
TBH, most of their other products have too much colour, but this is the exception. really top notch.
However, I did not use the hiss or saturation settings.
Hybrid 3 is all that. There’s everything you need to make great music in Hybid. It’s probably the best synth anywhere. The only drawback is that there isn’t many presets available for it other than the ones that air distributes themselves. They, however, along with developers and sound engineers have made great guides and tutorial series which should make doing that possible.The beef I have with air products is that they use Ilok. I’m an hinest guy and why should I have to leap through loops of fire to make them happy, I’m the customer. But albeit, a happy cutomer with their great product.
Firebird is a low CPU synth that has a random preset feature. It sounds a bit raspy but there is many presets available for this synth online. A useful utility and plenty of capability in this simple synth.
This synth has a bit of a cheap sound, but that’s perfect really because it is smooth enough sounding that you do not need to add an equalizer to the sound of it. I like the sound though and it’s also very easy on the CPU. The only thing that holds Carbon Electra back is another 20,000 presets. I’ll attempt to get hired by pluginboutique.com so as I can make like 10,000 presets for it and then customers will be happy.
Synthmaster is a bit boring to use but has many presets assuming that you buy the everything pack. I did and was pleased. The sounds are exciting but some of the wavetables do not work. It’s a rewarding instrument to use and bar some of the wavetable patches, it does not use too much CPU.Boring UI but good sound. It has a great preset manager. Information: info@KVRaudio Purchase Links: firstname.lastname@example.org@KVRaudio Free Presets Download: KVRaudio forum post (ras.s)
Has a synth ever sounded so bad? Perhaps ascension is a close second. However, both synths are utilizable to make a well rounded classic.But to be fair; it requires some remixing, and that’s fine. I use My own LA Bands 2 because it makes it sound pro at only half a percent of CPU. Synth1, where it fails in sound quality is well made, fast and easy on the CPU. It’s truly a synth capable of making impressive music. A dull experience though, that’s ultimately possible of making great music. Download Links: Download @ VST4free.com Download @ VSTplanet.com
I’m pleased with Surge in many respects. The only downside is when switching between 32 bit and 64 bit projects. Aside from that and a slightly raspy sound it works well. Surge has all the parts to make a hit.
Imposcar 2 is the new version of imposcar. Imposcar was probably one of the best synths ever made. It’s only lacking was that there were only a few presets for each bank. This meant that you would use a lot of banks. But overall, Imposcar was very efficient and there were very many presets available online. And that’s what it comes down to. Whether or not the product has a following. Imposcar had a following and I’m assuming 2 can load classic patches. If that is the case, then Imposcar 2 is a great buy.
It used to be that massive was the most popular synth. And as a result of this there is a great deal of presets available online for massive. Notably, in genres like dubstep for the wobbles massive was considered the instrument to make such effects.
Though dubstep is a bit passe, obviously some of the effects are still very relevant for future bounce, future step, and future house genres.
So, let it not be said that I had overlooked the new version entitled massiveX. And TBH, I know nothing about this new version, so I can not suggest it is good or bad. Here’s info about it though. Buyer beware though, programmers these days are very lazy and do not have the same talent making synths that are CPU friendly. I’d be guessing saying that Massive X could use more than 7% CPU, but it’s probably a good one. Maybe the old version is a better buy.
Absynth 5 is a phenomenal synth. I cannot say enough good things about it. I really have not worked with with omnisphere, but the good things about it should go to Absynth, because it doesn’t use much CPU and it delivers. With something like 10,000 easy to find presets.
It’s ridiculous how many presets for Absynth by Native Instruments can be found online. And that’s why it’s a staple. I’d be un-trusting of a new version TBH, but this version is a must have.
Possibly one of the most amazing things about Absynth is the articulated arpeggiator. The sequences have the capability of infinite depth. But not to the point of absurdity where the sequence is just too “far out”.
FM8 is a great synth. The reason I mentioned the previous version 7 is that people would rely upon it due to the fact that it had a random preset generator. That is exciting and interesting and as a result there is a lot of patches made for the FM7 which is very useful. FM7 has a unique sound, its sound is a little fake, a bit cheap. But that, in a synth is ideal for it to have a unique sound so as to not have to use width and spatial effects to differentiate between different synths.
It’s so easy to make a track too thick with excitation and reverb and chorus, becoming sources of essing and ultimately, the very reason why most every channel requires a de-esser.
There’s thousands of easy to find free presets for FM8, and that is mostly due to the fact that FM7 once had random preset generation. I uess any programmer reading this should take that to heart. If you’re looking to make a business for yourself selling a synth than why not add such a feature? The reason i do not mention many synths on this list is nbecause there isn’t enough readily available presets for a synth.
Like in the case of the Waves Element, it’s a fantastic synth; but there’s only a few hundred presets. A thousand presets or less IMO is what’s necessary.
The Element is without a doubt one of My favorite synths. And that is due to the fact that every patch is thoughtfully made and the synth has a nice grit to it. It’s not too gritty, but gritty enough and the chorus and excitation is just right.
I’m not saying it is the best, but it sounds pro. And often that’s all I want.
The Waves Element is a professional’s choice, but ultimately there is less choice in sounds offered. Though, the presets were made by professionals, and for a professional that can be quite intuitive. A multi-genre Artist like Myself very much appreciates the kind of seasoning that it takes to create good presets. It’s a minimum of 4 years experience, just mixing to understand even that, and the possible utilization.
I should add, however; that from time to time the waves element short circuits due to feedback. It’s a downside and if you were performing live, you’d have to first test the output and make sure the volume was not set too high.
Rapture is a somewhat stop and start synth. It’s not good enough to use live because it crashes sometimes but if you can get it to work well enough there area lot of presets and useful tools available in this instrument. In My experience I’ve found the 64 bit version in FL Studio 20 to be more reliable than in 32 bit.
There are some nice user presets for Rapture Pro, but installing them all is a real pain. Once they are installed, however; you will likely be pleased with the result. There are some very classic arpeggios which are rare to find in patch bank like Museum, and the factory content is pretty good when you need an idea or two. I recommend the pianos too, especially from the D-Pr factory preset section.
I guess it begs the question why that D-Pro isn’t added, but Rapture Pro sounds smoother.
Big bang Universal Drums is a contender. I don’t find it all that pleasant to use but it works great. And it sounds nice too. It ahs 6 channels out so you can control the stereo width thankfully and fx accordingly for each channel.
But, if you’re feeling lazy and don’t want to mess with settings this is not the drum machine for you.
I liked the bounce regular but I loved the mini for some reason. I made a few patches I used for tracks and found it very pleasant. It has a few useful patches. If you understand synths and want something light and utilitarian, it’s a great little synth.
Plogue Sforzando is a must have. Just don’t allow yourself to spend thousands of dollars without inspecting what this instrument can do. It would be a waste of time and money to be relying on very expensive products when frankly you can make do with Plogue’s Sforzando. Admittedly though, many piano patches fall short, but in other respects; many of the patches for synth sounds and such sound fantastic.
To find the really good EDM, Clubber, Rap SFZ patches is a hrd thing to do. I will make sure that int ime I update this post and try to include as many as I can in this list. Should the ist get extensive enough I wil;l add a new post dedicated to great SFZ patches. And I want to make it clear to readers that I don’t just shake hands laugh and say everything is great. If something sucks I say nothing at all. So, if I mention something it’s not a waste of time. But admittedly, sometimes what’s good and bad depends on your work ethic with an instrument. Personally, I’m a bit lazy so an instrument that requires less tweaking is ideal for My tastes.
If you buy a lot of patches for Ultra Analog 2, it’s great. I find it a boring instrument; but it’s useful and reliable. It sounds nice, has great features and the patches can sometimes be intuitive and professional. I’ve been pleased with My purchase of it and their offline activation is fairly user friendly.
What it comes down to though is their patches costing so much. I’d use the instrument more if the patches were cheaper. Maybe 50% of what they are now would be good. Then if on sale it’d be sweet.
I’m behind the Ultra Analog 2 product, but I have not tested 3. IMO, the vector style plugins don’t sound as good unless they’re made by a master so I tentatively suggest it might be good.
Rhino 2 is all that. You’d be hard pressed to find a better synth. TBH; there’s so much originality to Rhino 2 that people will ask where you got the sound you did. There’s a a great deal of user created patches for Rhino which are extremely pleasing. A bit so-so on the CPU, fast though and pleasant to use.
Drum Pro is an indication that maybe studiolinked knows what’s what. The Drum Pro is perhaps the best free drum sampler out there. It’s simple, fast and looks cool. It also uses very little CPU. That, to Me is number one. A live performance just isn’t possible with many of the popular synths without having a three thousand dollar computer. And it’d be a specially made rig because sometimes High Memory computers are a bit slow due to extreme multi-threading and pre-fetching. It’s good practise to have an incredibly powerful duo so there is less articulation to the pre-fetching of threading.
On the studiolinked site there is quite a few expansions available for 9.99 each.
Dune might have been easier on the CPU but frankly Dune 2 sounds great. Dune 2 also has a great deal of presets which can be found online. For that matter so does Dune I suppose.
If you find either used online you’re doing well. Maybe dune 1 preset packs would be cheaper too, if that’s any incentive.
You know, I think it’s a good idea for any company to keep their synth products alive. What customers lose is the ability to access a product that still works. And it’s a constant reminder to dev teams to always keep the CPU use low. It’s really too bad to see such a customer user base wasted and left behind.
Dune 3, Like Loom 2 and various others uses way too much CPU. I like it though. Sometimes I think that programmers just don’t make music. If they did, they’d realize that if you like an instrument you want to use it many times.
How is that possible if the synth uses 12% CPU? Impossible of course.
It works well though, you could always stem the patches you make. But I mean what abut live performances. It’s such a waste IMHO.
Acoustica and Jayfrog’snightlife is not necessarily a must have synth; but if you want a good free synth it’s very useful. It has a few glitches in its function; so I may be worried about using it for a live performance, but it’s great. With quite a few presets, it’s worthy of downloading.
Strobe 2 is pretty great, it has a lot of presets grom the get go and can do most anything. Tbh though, the older version did not sound as good. It’s nice that the devs worked out the kinks because the newer one does sound a lot better.
There’s nothing bad to say about the SonEQ but maybe that it esses a little if you’re not careful. It surpasses most sources of HP and LP. If mixed in at 50% wet, it sounds great on vocals with half the mid, HP and LP mixed with the High band set to 6K and maybe 8dBFS of boost. Sounds very professional.
This is a great EQ using the framework of Freq: by Nick Johnstone. I’d been very happy with Nick’s original version but this version caters better to people using 8k or 4k resolutions on their monitors.I felt it was a necessary thing to have and replaced a lot of the inner workings myself.
I had Nectar essentials, and it was based on Nectar 1 and some components of 2. I find My Nectar Essentials invaluable as it has many different effects with which you can use to mix your vocals.
It claims to have some auto-tune, pitcher like effects, but they are sub-part but work to a degree. If monochromatic, and with the response fast it does improve the pitch and normalizes it to a degree. That, in itself is useful. IMO though, the old style of nectar with it’s 3d looking GUI sounded better than this new 2d, style which is grainy and hardly pleasing to any degree.
A sign of the times that quality is set aside for style.
And, admittedly I replaced a lot but wished to keep the name freq so as to maybe offer people a different skin to their favorite EQ should they wish. Freq is one of My favorites but I have this thing about knobs. I just keep fiddling around with them.. like… forever. And I found the bell circles too small. So, what was I to do… I made a new skin.
So, anyways; I hope Nick will make it an official skin for his nice plug-in because I’m a real fan of his. I highly recommend his stuff and frankly he makes the best arpeggiator in the business. There is no better arpeggiator than that made by Nick Johnstone. It’s actually almost identical to the arpeggiator by David Carbona in the Synth for Pluginboutique: Carbon Elektra
The only limitation of his code was size, so recently I made a new Equalizer graphical engine that is frankly faster and bigger. Developers and those who are curious can find that source code here. I’m giving it away for free: http://dsprobotics.com/support/viewtopic.php?f=2&t=34618
And that code is labelled the Imperium EQ. I’m proud to say that it is the most stable EQ framework I have ever worked with and able to make an EQ that is 4K and 8K friendly due to superior efficiency.
There’s that and the RBJ filter set that I made which are the most efficient which you can find on the internet. Just as efficient as those made by image-line available in the same post. I will be optimizing ZDF filters by Martin Vicanek with straight math soon as well.
So, the VSTplug future for Equalizers is frankly the standard to benchmark every EQ in the years to come as I will include ZDF, RBJ and Miscallaneous filters in all EQ’s released by VSTplug.
I also intend to make Mid-Side and Stereo hybrid versions.
So, enjoy this custom oddity called the freq. It’s really just a skin of sorts for the Freq, but I thought people would find it a free, useful tool.
So, the esquire limiter is pretty great. And recently I’ve added some changes to make it meet the world standards. It now uses LU (Loudness Units) otherwise called LUFS, or the un-official name LKFS. It’s a way of filtering a lot of the bass and high treble out to decide the actual volume.
And that’s awesome because I’ve often wanted to make something that not only sounds cool but meet standards too. Here’s what to expect in the upcoming version.
But I also wanted to point out as well a great way to master your music so as to meet the official standards around the world. Meet AIMP2, one of the best free media players which now supports automatically detecting the track’s gain with a well trusted algorithm. I mean, it’s pretty awesome when you can load your track into AIMP2 and then figure out the exact loudness. I figured it was something worth mentioning. How you do that in AIMP is to choose file info on the song title and it will be in the MP3 ID32 details. Just look for track gain and press the refresh button.
The levels you’ll want to achieve are somewhere between 7 and 6. That’s the industry standard. However, it becomes quite difficult without adding a transparent brickwall limiter. This is a feature which will be available in the newest un-released version of Esquire. And the rationale behind that is that with less above 0 DBFS, the less deviation there is the mean average subtracted by the standard deviation.
I deleted the old posts I’d worked on because I’ve gotten older and wiser when it comes to plugins and production.
I’ll come up with some new content and I appreciate people coming by to read what I wrote. But all in all, as an amateur (then) and for an amateur it was useful. But not for the amateur looking to be a pro.
Now of course that I am working on making My own plugins, the realm of knowledge I possess is much greater and as such I promise to provide some very useful knowledge.