vsti dxi rtas au refills sf2 all about synthetizers, virtual synths, keyboard production music dj equipment, sound engineering, audio recording, sound recording, music recording, system requeriments, PC MAC prices, School training in audio engineering, sound engineering, audio recording, sound recording, music recording, recording arts, audio production and music production. audio engineering school,sound engineering school,audio school... dj software, dj tools, legal downloads

domingo, 13 de julio de 2008

Stillwell Audio Plugins Bundle v1.5.0-Talula


Written with sound quality and ease of use a priority, all of our plugins are 64-bit internal processing. If your host is VST 2.4 capable, we’ll accept and pass on 64-bit double-precision audio streams. If you have a host that is only 32-bit capable, we’ll still give you as much precision as possible. We think you’ll like ‘em!

Release date .............. May, 2008
Packaged by .................. Talula
Release size ................ 9,48 MB
OS ........................... WinALL

This is one of those mythical plugins that makes things sound better just by plugging it in. Really. Unlike 1973, which is a very pristine EQ plugin (but a VERY good EQ, all the same), Vibe-EQ is all about color. The more boost or cut you dial in, the more color and funk you get. This may not be your go-to EQ every time, but youll wind up using it more often than youd expect.

Draw Bezier curves over your audio waveform to create envelope shapes to follow or clip to. Clean errors, sharpen transients, or design entirely new sounds. All in real time, with amazingly low CPU use.

The Neve 1073 is probably one of the best large-format console channel modules ever made. Punchy, detailedit was almost impossible to make it sound bad for its time. Lets not debate about large chunks of iron and wax/paper versus electrolytic capslets talk about the sheer genius involved in picking the proper EQ frequencies, bandwidths, and slopes. THIS is where 1973 is coming fromnot an emulation, but a tribute. Taking the best features and reducing them down to their essencethen making it utterly transparent and smooth. Dial in some high end. No, more than thatcmon, more. What? Are you afraid of that knob or something GIVE IT A TWIST, I SAID! Magic. THATs what separates the men from the boys in EQs like thisthe ability to drop in staggering amounts of smooth, detailed HF boost without shredding eardrums.

Bad Buss Mojo
How to describe this? Well, I guess well just settle for this: sometimes digital is just TOO perfect. Im not going to say sterile or lacking soul, because Id wind up eating my words sooner or laterbut sometimes you just want a little grita little dirta little imperfection. Thats where Bad Buss Mojo comes in. Bad Buss Mojo allows you to dial in specific tweaks to a virtual mix buss amplifier. Is the + rail a little low? Dial it inPSU not quite as stiff as it could be? Dial in a bit of knee in the bend. Old-school transistors or even gasp tubes? Dial in some nonlinear modulation. Itll go from I cant hear that youve done anything, but I like it all the way up to Why did you run my mix through a guitar amp? Highly recommended (the plugin, not running your mix through a guitar amp)

Event Horizon Plus
Event Horizon is a Peak-Eating Limiterhuh? Well, maybe a better description is that its a clipper with an optional soft-clip circuit. By truncating waveforms short of where the DAC would go into clipping, you can get VERY transparent loudness increases unlike most limiters, Event Horizon does this with ZERO pumping, ZERO transient or frequency artifacts, and with ZERO latency. Now, it may not let you be louder than the latest flavor of the month mastering limiter, but within its range of operation, you WILL get an unsurped natural sound. Its output is what comes into itonly louder. If you push it too hard, it will tell you in no uncertain terms that this is no longer the right tool for the job. Give it a tryits fantastically easy to use, and it sounds great!

Major Tom
Major Tom is not your ordinary compressor, no sir! It was designed with very specific goals in mind, and blew completely past them. We like Major Tomcan you tell? Major Tom is intended to be easy to use: there are no attack and release controlsthe values vary depending on the level of the signal relative to its threshold. These values are very finely tuned to make it as musical as possible, without requiring a wall full of gold records to hit the right settings. The attack/release settings are inspired by one of the true stealth vintage compressors, the dbx 160. You may not hear about it much, but youve heard it on records time and time again. Musicality: Thats the second key. Major Tom WILL pump, but it should do so in a musical, rhythmic
manner. Put it on vocals gently for smoothingnice. Put it on b, but dont go overboardbuttah. Put it on drums and go berserkSMACKIN. If you pull lots of gain reduction, its going to turn into a savage, funky, living, breathing, pumping instrument of destruction, but use it gently and it will be nice and transparent, adding a subtle gloss to your tracks. Those looking for utterly transparent gain reduction need not apply.

Transient Monster
This is simplicity itself. It will save your drum mixes. Two controls: Attack, and Sustain. I would explain more, but you knowI really dont have to. Put it on your drum buss. Turn the knobsyou WILL understand, and you will thank me later. Okay, okayhave you ever had a drum performance that was REALLY laying down the groove, but the recorded drum sound just didnt SNAP? Turn up the attack. Need those ride cymbals to really ring instead of just dying down into the mush? Turn up the sustain. Too much bleed and ring getting into your drum tracks? Turn DOWN the sustain. See? I knew I didnt really have to explain it to you.

Before convolution reverbs, there were Lexicon, Yamaha, Eventidehmm. Seems like all the REALLY good reverbs were around way before everybody got the convolution bug. This isnt a convolution reverbits an algorithmic reverb put together the old-fashioned wayfrom your basic ones and zeroes. Its extremely controllable (try changing the room size and damping of your average reverb impulsedoesnt work, does it?), and very flexible. Separate control over early and late reflections, stereo or mono in (input mix), stereo or mono out (width), flip wet output channels for cross reverb (very cool for panning mono instruments and letting them fill a space without getting overly wet), high-p filters, gatingits all there. This is NOT the reverb you would use to emulate a physical space (thats what convolution reverbs excel at), but this is a true gem for sweetening tracks with reverbadding that special shimmer to tracks that you cant really get any other way.

Home | About | Link | Link
Simple Proff Blogger Template Created By Herro | Inspiring By Busy Bee Woo Themes