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VST Instruments / VST Plugins22-12-2015
FG-X Virtual Mastering Console Dynamics Module is the initial plug-in in Slate Digital's mastering line.
The Concept
Imagine mastering your mixes without causing the lifeless, squashed, and over compressed sound that has become so common in modern music. We have all been at the mercy of the 'loudness wars' for over ten years now. Masters have become louder and louder, at the expense of the music becoming harsh and lacking punch and dynamics. One of the main causes of this epidemic is the use of the Peak Limiter to achieve increased levels in the mastering stage. Peak limiters attenuate transients and often reduce punch, stereo imaging, can greatly alter mix balances, and cause a fatiguing result to the ears.
Some of the top mastering engineers have found ways to combat this sonic degradation by using techniques other then Peak Limiting. One of the more popular techniques is the use of saturation in both the analog and digital domain. Another popular method is clipping the front end of expensive A/D converters.
However, both of these methods, while usually more unobtrusive then peak limiting, have their downfalls. Static saturation curves are not universal in their ability to sound good on all transients. Clipping greatly reduces low end punch and is very poor at retaining sub bass. Both static saturation and clipping have a small window of gain maximizing before audible distortion. Enter Slate Digital.
FG-X Dynamics Rack
Two years ago Steven Slate and expert algorithm engineer Fabrice Gabriel started working out the concept for a digital audio process that could increase the level of a mix without altering the punch and dynamic feel, or make the mix sound squashed and lifeless. They started by researching saturation curves and their effect on various types of transient material. After several months of study and hundreds of listening tests, they made some fascinating discoveries. What they found, was that in order to transparently add level to a mix, a dynamic and intelligent transient saturation system would have to be developed.
New Advanced Algorithms were created to execute the extremely complex communication system that would be needed to properly perform the new dynamic operations. A new algorithm was formed, and the process was named 'Intelligent Transient Preservation', or ITP.
ITP - Intelligent Transient Preservation
The ITP process uses a complex lookahead detection algorithm to analyze oncoming transients and groups of transients. It then optimizes a specialized set of saturation curves for that specific transient. For example, if the ITP algorithm's lookahead identifies a kick drum transient, it will optimize the algorithm so that it preserves low frequency energy. For a snare drum transient, it will optimize the algorithm to preserve upper mid range punch. The result is the most transparent means of level maximization the industry has ever heard, with extreme transparency, and no degrading artifacts common to peak limiters.
Control
The FG Level maximization plug-in offers the user complete control of their mix, before and after the level maximization process. The Transient function contains two controls to fine tune mix transients. Enhance allows you to transparently increase the level of the transients in a mix, increasing the punch and dynamics without altering other elements of the mix. Detail adds more clarity and focus to the transients, perfect for buried snares or kicks. You will find the Transient functions not only ideal for mastering, but as great tools for the mixbuss and even drumbuss.
After the ITP powered Gain maximizer, there is a function called Impact. This new process can make even the loudest masters sound more dynamic, open, and punchy, even though the master has much more limited dynamic range then the mix.
Be Safe
In the rare case that a mix has poor frequency balance or small bursts of low frequency energy (such as a quick floor tom hit), the Safety slider prevents unwanted distortions or crackles, that until now have been extremely hard to prevent or tame. The dynamic multiband Safety algorithm reacts quickly and backs off quickly, allowing the FG Level to remain transparent and create worry free masters without artifacts.
Mastering Quality Compression
Some mastering compressor plug-ins try to emulate vintage analog units and add color, harmonics, and different filters that change the way your mix sounds. Most top mastering engineers use very little or no compression. When they do use compression, they use only the most transparent compressors that will not alter the tone or balance of the mix.
Slate Digital says the FG Dynamics plug-in is a true mastering quality compressor meant to control the dynamics of your mix in the most transparent way possible, not to color it with digitally modeled harmonics or distortions. The FG Dynamics compressor assumes that you have used your favorite color or tone compressor to achieve the sound on your final mix. It is the job of the FG Dynamics compressor to maintain that quality, not alter it. The advanced dynamics algorithm is claimed to be so transparent, you'll wonder if its on.
home page:
http://www.slatedigital.com/products/fg-x
Slate Digital Virtual Buss Compressors v1.2.6.4 WIN VST-AudioUTOPiA
Virtual Buss Compressors comprises three unique sounding, 100% analog-modeled dynamic processors that are designed for program material including full mixes, mastering, drums, group mixes, and more. Every nuance of real analog compressors has been modeled; including the exact nonlinear characteristics of their transformers, tubes, VCAs, amplifiers, phase distortions, harmonic distortions, and timing.
Virtual Buss Compressors contains 3 models of some of the industry's most sought after analog gear:
The FG-GREY is a replication of the classic British console compressor, with some fat sounding transformers added in to beef up the low end. The GREY is designed to give a mix that classic glue and punch.
The FG-RED is a replication of the classic RED mixbuss compressor that has been used for decades by some of the world's top mixers. It is designed to sound tight, punchy, with rich harmonics from the output transformers.
The FG-MU is a hybrid of several tube compressor designs that are lush, warm, fat, and open sounding.
Each compressor also includes a hi-pass filter and parallel mix wet/dry knob for flexibility. Finally, some of the most common professional presets have been added to each compressor to get a user started quickly.
Sound Radix Drum Leveler v1.1.1 MacOSX Incl.Keygen-HEXWARS
Drum Leveler is a new beat detection-based downward and upward compressor/expander. By selectively applying gain to single drum beats, Drum Leveler easily achieves the desired target level for each beat, without affecting bleed noise or beats that are out of the user-defined processing range.
Unlike traditional envelope-followers that detect incoming levels and utilize VCA to apply gain changes, Drum Leveler runs an advanced new algorithm that takes full advantage of the digital domain – allowing unparalleled control over your drums' dynamics.
Drum Leveler is powerful yet easy to use. It will help you achieve solid driving grooves, improve clarity and add punch to any percussive performance.
Drum Leveler brings a new, radical approach to drum’s dynamics control. We’d like to encourage you to take the time and explore Drum Leveler to utilize its full power.
Sound Radix Drum Leveler v1.1.1 Incl Keygen R2R
Drum Leveler is a new beat detection-based downward and upward compressor/expander. By selectively applying gain to single drum beats, Drum Leveler easily achieves the desired target level for each beat, without affecting bleed noise or beats that are out of the user-defined processing range.
Unlike traditional envelope-followers that detect incoming levels and utilize VCA to apply gain changes, Drum Leveler runs an advanced new algorithm that takes full advantage of the digital domain – allowing unparalleled control over your drums' dynamics.
Drum Leveler is powerful yet easy to use. It will help you achieve solid driving grooves, improve clarity and add punch to any percussive performance.
Drum Leveler brings a new, radical approach to drum’s dynamics control. We’d like to encourage you to take the time and explore Drum Leveler to utilize its full power.
LVC-Audio ClipShifter v2.3.3.Incl Patched and Keygen WiN/MAC-R2R
'The latest addition to my mastering chain is LVC-Audio’s ClipShifter. It’s the plugin I was looking for a long time and it even surprised me with a whole bunch of additional useful features. It’s a must have for modern urban and dance production!”
Clip, Compress, Distort, or Limit: you get to choose
ClipShifter is a wave-shaping audio plugin that functions like a clipping-style limiter. It provides enough user controls to be useful in all mixing stages: from distorting basses and drums, to maximizing mix buses and warming-up overall mixes. The sonic characteristics of the clipping distortion can be altered from hard, brickwall-style clipping, to softer saturation with compression.
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Dynamic Control
ClipShifter can function as a static clipping effect, but it can also respond to the transient qualities of the incoming signal. The threshold for clipping can be set to either rise or fall as the level of audio increases. The speed can be set using the Attack Time control and the Fast Release button. Let the transients through while distorting the rest, or distort that initial bass thump while letting the rest sound clean. A new feature in version 2.2 is the independent Left/Right (or Mid/Side) Threshold Control. Choose between Independent, Maximum, or Average to determine how the the clipping thresholds dynamically change.
Dial-in the sound of your choice, from heavy distortion to subtle compression
ClipShifter includes controls to change the clip shape and to adjust the harmonic content. Setting the Clip Shape control to maximum produces a hard-clipped sound, while lesser settings verge on subtle compression with minimal auditory distortion. The harmonics control allows you to control the amount of even-order and odd-order distortion.
Choose your frequencies (paid feature)
The multiband crossover gives you finer control. The revised 3-band crossover controls lets you pick which frequencies are processed, and which frequencies are passed through to the output. Each of the three frequencies can be processed independently for maximum versatility. For example, you can choose to process the middle band without processing the hi or low frequencies. The Gain Select control determines if you want the EQ gains to be applied before clipping, after clipping, or as a SideChain effect (i.e., increases and decreases of gain are nullified post processing).
Oversampling & Doubling (paid feature)
Oversampling improves the audio quality on maximum-clipped sounds. For many digital effects, oversampling improves the audio by reducing aliasing effects. ClipShifter internally filters and processes audio at 2X, 4X, or 8X the sample rate to reduce aliasing artifacts. The Double feature processes that entire audio through the clipping algorithm an additional time. This prevents any 'overs” (when using ClipShifter as a brickwall limiter) and also alters the harmonic content of the output.
Mid/Side Processing (paid feature)
Similarly to the multiband frequency control, ClipShifter 2.2 allows you to process stereo information separately through the clipping algorithm. The revised M/S controls provide independent clipping processing to the Mid and Side channels. Controls for Gain and Width lets you tailor the output of ClipShifter to the desired depth of stereo field.
Main Features:
Clipping style limiter: from transparent sounding compression to hard clipping distortion
Controls for Clip Shape (hard to soft) and harmonics (even- and odd-order), so you can be in control of the sound
Low CPU usage for running multiple instances on multiple tracks
Visual display of signals using VU-style, PPM-style, and loudness meters to easily monitor input and output levels
Scalable waveform history view with click-and-drag editing of threshold controls to easily change and set clipping levels based on the incoming signal
3-band crossover (paid feature) control utilizing 4th order LR filters for flat crossover response
Independent frequency clipping (paid feature) to target the right frequencies for processing
Selectable EQ gain controls that can be used pre- or post-processing
Oversampling with Double Processing (paid feature) at 2X, 4X, and 8X the incoming sample rate for reducing aliasing
Version 2.3.3
- Fixed issue with AU validation when using free version
- Changed font on OS X so that text is easier to see
- Improved issue with starting/stopping playback and audio glitches
Bayou Media Drum Gator v1.0.4 MacOSX Incl. Keygen HEXWARS
Drum Gator is a unique noise gate and envelope shaper designed specifically for drums and percussion. It is available for Windows platforms in VST (32 bit 64 bit) and AAX formats and Mac OSX in VST, VST3, AU, and AAX formats.
WHAT’S WRONG WITH NOISE GATES?
Traditional noise gates are triggered when the signal level reaches a threshold set by the user. Gates triggered in this way may chop off the initial onset of the drum hit, creating noticeable artifacts. These artifacts vary depending on the intensity of each drum beat. Also, in order to make sure that all drum hits are allowed through the gate, the user may be tempted to lower the threshold. This can have the side effect of allowing unwanted signals through the gate. The result is a tradeoff, with some drum hits gated out while some unwanted signals are passed through.
WHAT’S DIFFERENT ABOUT DRUM GATOR?
Drum Gator does not suffer from the issues experienced with traditional noise gates. It uses a transient detection algorithm combined with spectral analysis to provide an almost uncanny ability to remove only the unwanted drum hits while preserving other program material. It can also do things that are not possible with any other noise gate, opening up creative possibilities that were previously unavailable.
ACCURATE BEAT DETECTION
Drum Gator is triggered by a transient detection algorithm which monitors the rate of increase in the initial onset of the drum hit. This algorithm makes Drum Gator much less susceptible to the varying intensities of individual drum hits than conventional gates. It can accurately detect the initial onset of a drum hit resulting in a much more natural sound as the gate opens.
FREQUENCY SELECTIVE OPERATION
Drum Gator categorizes individual drum hits based on their spectral (frequency) content and provides a separate level control for each category. For example, you can reduce the snare drum 'bleed' from a kick drum track or remove it completely by setting its level control to zero. Drum Gator doesn’t depend on the snare drum bleeding through at a lower level than the kick drum in order to remove it. If the signal bleeding through matches the spectral content of the snare drum, it can be removed regardless of its level. This approach is superior to the side chain tuning used by conventional gates and virtually eliminates false triggers.
TRANSIENT AND ENVELOPE SHAPING
Enhance or soften transients. Soften the hi-hat while simultaneously adding 'snap' to the kick drum. Remove the excess reverb from the tail of the snare. Drum Gator can easily do all these things and more.
CREATIVE CONTROL
The 'Closed' control allows you to control the amount of signal passed through when no transients are present, allowing for transient softening as well as 'reverse gating' effects. The 'Floor' control functions much like the 'Range' control of conventional gates, allowing you to add some dry signal back into the mix.
LEARNING MODE
There’s an almost infinite variety of drum and percussion sounds out there, and each instrument has unique spectral characteristics. You can easily train Drum Gator to recognize and process the unique spectral characteristics of your program material. You are not limited to built-in spectral filters.
Plug And Mix PRO-Series v1.0.2 MAC OSX
The 'Pro Series” collection includes 'E-Max” a transparent linear phase equaliser, 'OptoMax” a powerful opto compressor and 'Tube Exciter” a subtile tube exciter and sub bass enhancer.
The Ultimate Precision 'Pro Series' Pack includes 3 professional plug-ins that are part of a new collection called 'Pro Series” Plug-ins. The 'Pro Series” plug-ins have been designed to reflect the need and requests of P&M’s most demanding professional customers that use the 'V.I.P. Series' plug-ins in their daily tasks. The 'Pro Series” collection includes 'E-Max” a transparent linear phase equaliser, 'OptoMax” a powerful opto compressor and 'Tube Exciter” a subtil tube exciter and sub bass enhancer.
Emax :
The P&M 'Emax” is a professional Equalizer that is one of the most essential tools for any producer, mixing or mastering engineer. P&M E-Max Equalizer provides the highest quality tool for sculpting your sound with a stunning new interface for precise control. E-Max goes beyond the expectations of a normal EQ with its built in Sonic Maximizer for extra 'sweetening” and a Linear Phase mode for mixing & mastering which preserves the transients and transparency of your music.
OptoMax :
The P&M 'OptoMax” is a state of the art plug-in for use in your favorite digital audio workstation. OptoMax is designed to give you precision dynamic control over any type of media whether its vocals, drums or entire compositions. The plug-ins intuitive user interface allows for effortless control over compression levels, and frequency side-chaining, as well as other crucial sonic analysis tools.
Tube Exciter :
The P&M Tube Exciter delivers punch, clarity and sparkle to any signal you run through it. The plug-in features Tube Exciter, Tube Saturation and Sub Bass enhancers which can enrich your sound in subtle and drastic ways. The plug- in’s unique interface allows for precision adjustments using elegant graphical curves and audio analysis tools giving you a realtime window into the sound processing. P&M Pro Tube Exciter can be used on practically any audio source to improve the sound: From Broadcast and Live P.A. systems, to recording Guitars, Vocals and Bass, to Mixing and Mastering your songs.
AU - VST - AAX
Use the included Keygen to authorize the Plug-Ins!
Mac OS 10.6 and above
2 GB RAM
Today we are proud to announce the 1.0.2 version of the Pro Series Plug-ins. Included in this new version are improved ProTools 11 and 12 compatibility and minor bug fixes.
Posted by2 years ago
Archived
Hi. I recently transitioned from FL to Ableton, and throughout my time spent with FL, I unfortunately neglected to learn about Compression, and decided to learn how it functions after switching to Ableton. So over the last few days, I've been extensively researching and trying to understand the function of each individual parameter of a Compressor. So far, I feel comfortable and I have a somewhat moderate understanding of how the various parameters interact with one another. One thing that I find terribly confusing is that I don't understand what the differences are between the standard Compressor, and the Glue Compressor.
They both share the same exact parameters like threshold, ratio, attack, release, yet I've been noticing people prefer to use the Glue Compressor, particularly when compressing an entire instrument group or bus. So, is there some sort of inherent difference between both of these compressors? Does the Glue Compressor have some sort of superior capability than the standard one? Surely there must be a difference. Also, what does it mean to 'Glue' something? I understand that a Compressor is intended for reducing or altering the dynamic range of a signal, so I would assume 'gluing' means to reduce the overall dynamic range of a group of signals in order to make the signal level consistent and average throughout.
I may be wrong but that's my interpretation. So yeah, in that case can't the standard Compressor 'glue' things together? Thanks a lot for any feedback to clarify cause I am confused as hell.
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