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Ableton Live Tips #9: Composition + Remix Techniques (Virtual Boy)

Monday, August 29th, 2011

For more info – bit.ly In this week’s Ableton Live tutorial, Dubspot Instructor Professor Nalepa shares a composition process he stumbled upon years ago working on the song “Pomme Granite Dub.” The technique involves taking short loops from some source material, loading them up into the Session View, mapping them to your MIDI controller and then recording your live performance into the Arrangement View. The source material can be a song you are remixing, an older production you want to breathe new life into, or some crazy synth recording that you’ve mined for the best moments. He explains MIDI mapping of Send Effects, MIDI mapping the Loop Position of an Audio Clip, and MIDI mapping multiple cells in the Session View. The tutorial shares a variety of composition techniques, and also explains how to view multiple automation lanes in the Arrangement View.
Video Rating: 4 / 5

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Slate Digital Virtual Console Collection

Wednesday, August 24th, 2011

Virtual Console Collection (VCC) has been a long time in development, and though it finally made it out of the gates in March 2011, there were teething problems, with much bug-busting still to be done. We’re evaluating the latest version (1.2.3) and we’re pleased to report that it worked without a hitch for us.

The plug-in is in VST format for Windows and AU, VST and RTAS for OS X.

“VCC isn’t a magic bullet that’ll make mediocre mixes sound majestic. If you’re still getting a handle on mixing, you’d be better off investing in bread-and-butter plug-ins first.”

VCC emulates the sonic characteristics of classic mixing desk channels. This doesn’t mean EQ or compression but the subtle effect gained simply by running signals through the mixing console, often described by analogue advocates as providing warmth, glue and sometimes a certain ’3D’ quality.

VCC offers four desk models, named Brit 4K, US A, Brit N and the last represented by the three-pronged Greek letter pi. It’s easy to deduce that these are SSL, API, Neve and Trident designs respectively.

There are two plug-ins in the package: Virtual Channel and Virtual MixBuss. You put the former on all source channels in your mix, and the latter on group buses and the master bus. You can drive them harder using the Input and Drive knobs – they have the same sonic effect, but the former also increases the level.

If you drop VCC on just one channel, you almost certainly won’t hear any difference.

However, the accumulated effect from sticking it on all of them is of subtle enhancement and gentle dynamic control, making it easier to achieve a smooth mix where everything sits in its place. Like an analogue desk, you have to push levels hard before saturation is audible.

Front desk

One of VCC’s biggest novelties is the ability to mix and match channels from different desk types. Still, at regular levels, we found that using the SSL channel on a drum kit with a Neve-treated string section was practically indistinguishable from a fully SSL setup.

This is to be expected considering that real consoles are typically designed to be as clean and transparent as their analogue circuitry allows. As you drive levels, the differences become more obvious, with the SSL and Trident being the most coloured.

Sonically, the Trident offers the least hi-fi sound (and most hiss), with the API crisp and upfront, while the Neve handles extreme signal levels with the most ease. The Neve also noticeably enhances the bass.

On the downside, CPU usage can be considerable. On our four-core Intel Xeon 3GHz-equipped Mac, running 64 Virtual Channels brought the CPU meter up to the halfway mark.

Note that the MixBuss plug-in is more CPU-intensive and that oversampling will increase the CPU load further. However, the treble sounds excellent in the 8x oversampling mode.

In use, we found VCC very rewarding and with a valve desk model in development, there’s clearly more to come.

We should point out, though, that VCC isn’t a magic bullet that’ll make mediocre mixes sound majestic. If you’re still getting a handle on mixing, you’d be better off investing in bread-and-butter plug-ins first, such as quality EQ, compression and reverb.

For more experienced engineers looking to take their mixes to the next level, though, VCC could be revelatory, and we have to praise Slate Digital for bringing a new level of nuance and flexibility to the ‘console in the box’ concept.

Read more about Slate Digital Virtual Console Collection at MusicRadar.com




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SugarBytes Turnado review: a virtual pedalboard on steroids

Saturday, July 23rd, 2011


SugarBytes have just released a new plugin designed for real-time manipulation of audio. Turnado is a fresh look at some of the previous excellent offerings from the German company. SugarBytes’ motto is to make “Better sounding, better looking audio software thats easier to use and cheaper to get than everything that’s out there. Just great products that can do more stuff with less buttons, that have more features with less instructions, that are simply more fun and less expensive.” With Turnado, they certainly seem to making massive strides in that direction.

Turnado is a VST/AU plugin, but is also interestingly now in a standalone version – so anything that you can use to make audio on a computer, you can route through Turnado.

The GUI is a big bold move – the opening screen is clutter free, simple, big, bright clean graphics. I opened up the program, and instantly understood the concept. There are 8 effects knobs. You turn them, an effect comes on. You turn them more, the effect changes or increases. Simple. There’s different effects listed in a column on the left hand side. You want to change one of the 8 effects? Drag one from the left hand list onto the knob. Changed.

The immediacy of the effect is very appealing. There’s no need to look through the manual: it’s a very intuitive design. I really liked the colourful graphics. It looks fresh – it’s very different from a lot of plugins out there – with an almost cartoony edge. Although it doesn’t overstep into cheese and cheap looking, it does look kind of like a beat-up pedal board from the bahamas.

The next thing to impress was the sound. As I messed around with all the different effects, I noticed that the quality of the sound was really clean. It took a lot of effort to get any (unwanted) clicks or pops out of the sound mangling that was going on.
There are 24 effects total that can be dragged into the 8 effect slots at any one time. the brightly coloured graphics neatly divide up the styles of effects, making it easy to differentiate between what types of effects are in use. The effects are a little different from the norm too. Yes, there’s the usual suspects – reverb, phaser, ring mod, looping, delays etc, but there are other more unusual effects, such as Pattern delay, Vowel filter, freeze reverb, Vocodizer, Transient looper, granulizer and spectralizer. In use they quickly create some fresh sounds. I didn’t find any of the effects redundant either. I could see them all being useful in mashing up sound. The way the effects work definitely seem to lend themselves more towards beats and rhythm oriented material. There’s a lot of beat slicing, stutter, glitch style sounds that come out of the plugin. But it does work well on other melodic and harmonic sound too. There are a ton of presets to trawl through that open up to your ears all the different possibilities this software presents.

Once you’ve dragged the effects you’ve chosen into the slot, they can be further edited by clicking on the title bar in the middle. This opens up a menu listing a bunch of presets for that particular effect. So you can quickly change through many different options. Deeper editing is revealed with a click of the little edit button, which when pressed takes you to a new page. This reveals the more in depth editing capabilities of the effects. Within the edit page, there are several parameters that are present. Some are there for every effect – such as 2 LFO’s and an envelope follower. But there are distinct parameters too. If you are using the vowel filter effect for example, then the parameters you can change are vowel choice, vowel mix, resonance etc. Each parameter that you edit has a separate knob that determines how the movement of the main knob will affect this particular parameter, and in what way. so you can choose whether moving the main knob will make the parameter less, more, slower, faster, etc. This combined with the LFO modulators (that can be assigned to any or all parameters) means that each effect can get complex very quickly.

THE DICTATOR

And then, when you think it can’t get any worse – there’s the dictator slider. The dictator slider replaces the grid list of effects, with a single slider, that combines all 8 of your knob effects into one. As you move the slider around, the various knob effects will come into play in varying amounts. This is really magnificent thinking. It’s a sort of vertical automation sequencer: As you move the Dictator slider up and down, the corresponding effect knobs move according to their positioning in the sequence. Clear as mud? Yeah, it’s hard to describe. Here’s a video that will hopefully help explain. I set up a simple Ableton live pattern, then stuck 3 turnado plugins on the master channel, and am using a midi controller to move the dictator and the dry/wet sliders.

Conclusion

Sugarbytes have done it again. One of the signs that I took this to be a good plugin was the fact that I got totally lost in it – and realised 2.5 hours later that I’d spent all this time messing around with one beat, creating weirder and more wonderful stuff than I had in a long time.

The Dictator really takes the biscuit for me. For ease of use and just brilliant results by moving one slider – and yet designing the program so it’s as easy as pie to set up, I’m not sure there’s anything out there that competes at the moment. Excellent design. The instant satisfaction combined with the great depth of editing on this plugin make it really good work with.

Price

139€/$ 179

… For ease of use and just brilliant results by moving one slider – and yet designing the program so it’s as easy as pie to set up, I’m not sure there’s anything out there that competes at the moment…

Product page

PROS

  • It can be as simple as just moving a single fader to create an absolute mangled mess of sound, yet you can get really complex in the editing of each effect
  • Amazing sound quality

LOVE IT OR HATE IT

  • If beat manipulation isn’t your thing, then you might not find much use for it.

CONS

  • The intro price was excellent, the full price may be a bit high for some users

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XILS-lab launches Synthix Virtual Analogue Synth with a Pre-order Group Buy

Monday, June 27th, 2011

XILS-lab has announced its next product, Synthix, which is a 16-voice virtual analog synthesizer plug-in for Windows and Mac OS X (VST, AU and RTAS). It’s available to purchase now as part of a Pre-or… [Read More]
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DDMF releases Virtual Audio Stream

Sunday, June 26th, 2011

DDMF has released “Virtual Audio Stream”, a CD-quality virtual loopback audio driver together with a dedicated VST effect rack. The driver makes up to four stereo cables available for routing audio… [Read More]
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EastWest announces the release of Hollywood Brass virtual Instrument

Friday, June 10th, 2011

EASTWEST follows their multiple award-winning Hollywood Strings Virtual Instrument with Hollywood Brass, a massive 150GB instrument that features unprecedented sound quality and the brand new PLAY 3 p… [Read More]
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Studio Devil Virtual Bass Amp Pro

Tuesday, May 24th, 2011

The VBA Pro signal chain starts with a dual channel input which is configurable as parallel A/B or bi-amped with crossover control (40Hz to 8kHz). The identical A and B channels are split into three sections: Compressor, Preamp and Power Amp.

The compressor has a single ‘amount’ knob that works in conjunction with the attack control to create a good deal of sustain and ‘beef’ without roaming into pumping territory.

Placing the compressor here helps keep a consistent level for the gain stage where plenty of growl is available via the Gain knob and Boost switch. Though the channels can be kept clean the distortion characteristic is a real joy to play with, from subtle fuzzing of the edges to a ripping valve overdrive, especially in conjunction with the dual channel architecture.

Each preamp has a standard three band EQ with fixed bass and treble shelving filters and a sweepable mid (40Hz-4kHz). This provides a good quality of broad brush tone shaping that really enhances the possibilities afforded by the dual channel/bi-amped signal path.

The power amp sections sport drive and limiter clipping controls which provide a second stage of gain and distortion performance. The power amp drive and clipping are less subtle and forgiving than the compressor and preamp so pushing them hard can create some nasty crackling and spitting, while the softer clipping characteristic can round off to a mellow rumble.

Bass head

The lower half of the interface offers up a 12-band graphic EQ, Deep and Bright tone controls, a five-way cabinet selection, the final volume slider and two effects (reverb and chorus).

The graphic EQ has a good deal of range in both amplitude (+/-12dB) and frequency (30Hz-15kHz) and makes a huge difference in frequency manipulation without upsetting the balance of the input channels.

Though good tones can be made without engaging the graphic EQ we find it nearly always has the last word. Having said that, the Bright and Deep controls add that quick and easy high/low contouring that doesn’t dismantle the preceding balances.

The three speaker cabinet models come courtesy of impulse specialists Red Wirez and use an Ampeg SVT 8×10, Hartke 4×10 and Ampeg B15 (miked with U47s). The 8×10 has a dominating boom and presence that can make the other two seem a little weak, but with some graphic EQ work the latter two easily come up with the goods.

The DI setting features a useful HF roll off making for a softer tone than the full frequency pass through provided by the ‘off’ cabinet setting.

Effect tricks

The reverb and chorus effects are a simple affair with the former capable of adding a little air and room around the bass to place it in a mix. The chorus we found less useful, but then again we don’t like chorus on bass. That said the cutoff control means it can apply chorus, if it is so desired, to the upper frequencies only, without upsetting the bass.

The easy to use interface provides plenty of level feedback via (virtual) traffic light LEDs strategically placed along the signal path. The range of tones available is excellent and the flexibility of EQ sculpting and gain staging/harmonic distortion makes this plug-in a pleasure to use.

Bass guitars may be the target instrument, but we had great results using it on guitars, electric pianos and, in particular, synth basses. The overall sound is such that the most thunderous bass tones can be achieved without losing the punchiness that a good bass lives or dies by.

For those in need of a dedicated bass amp plug-in, be it for stringed basses or synths, this is a fairly big contender for a fair price, and if you like a good bit of growling distortion to boot, then you’re on to a winner.




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Heptode releases Virtual Deep Crunch and Virtual Heavy Tone for Mac VST (+v1.03 update for Win)

Thursday, May 19th, 2011

Heptode has announced the release of the Mac OS X Universal Binary versions of its Virtual Deep Crunch and Virtual Heavy Tone free VST effect plug-ins. Version 1.03 updates are also available for the … [Read More]
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M-RGT updates psyBOX – Virtual Soundscape Generator – to v1.1

Tuesday, May 10th, 2011

M-RGT has updated psyBOX, its Virtual Soundscape Generator VST instrument plug-in for Windows, to version 1.1. New Features: Added 3xLFO, Step/Seq, 2xModulationMatrix; Added FX/section (Chorus, Phas… [Read More]
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SONiVOX Releases Big Bang Universal Drums Virtual Instrument

Tuesday, April 19th, 2011

SONiVOX today announced the immediate availability of their latest virtual instrument release Big Bang and#8211; Universal Drums. Big Bang – Universal Drums is a virtual instrument for MAC and PC. It … [Read More]
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