I (L) new must-have plug-ins

Ermz

¯\(°_o)/¯
Apr 5, 2002
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Melbourne, Australia
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As always I've been frantically on the look out for new tools to improve my workflow and let me hit higher levels of quality with my work.

As of late the two single greatest I have found have by far been:

1) Soundtoys Native Bundle.

Holy crap. What can one say about these. They are absolutely straight forward, amazingly flexible, and let you do all that amazing automation on your mixes with absolute ease and efficiency. The delay alone is worth the asking price. I've ALWAYS been on the look out for a great delay, and this is the only one that's ever been on the level... in fact it's blown apart and surpassed the level several times. The ability to be able to drive the delay signal, crunch it up like a transistor radio, tape saturate it, multi-tap it, pan it all over the place all from the one plug-in is immensely useful. Not only that but they've made this thing sound spectacular, finally with the great feedback times I've been looking for.

This bundle is the most useful I've run into since getting the Waves SSL pack years back. I expect to be using both in conjunction with each other on all my projects for years to come.

2) AudioEase Speakerphone.

Never worry about having to add a radio or lo-fi effect to your mixes again. The great thing is that their library is IR-based so all the crunching and megaphoning and whatnot is actually based on the response of real units. No more hassles with filtering manually then scrounging around for distortion plug-ins. It's all built in and makes for some awesome sound design work.

3) PSP Old Timer.

Want a compressor that sounds like analogue, is easy as hell to dial, and costs less than $100? Get this now.
 
PSP Old Timer is the greatest ITB compressor. Period. =D

Not the most flexible but holy shit, it does what it does WELL.

Another plug I'm loving is LiquidSonics Reverberate. Awesome IR-based reverb that allows for TRUE stereo IR's and has options for modulation! Oh, did I mention it's zero-latency?

This along w/the True M7 IR's (true stereo) are a treat like none other.
 
Oh yeah, nice one for mentioning Reverberate. I was seeing that unfold on GS as the creator released it and subsequently updated it like 10 times in the first week :lol:

I'd be all over that, except recently I've really been weening myself off reverb. With the great room mics on SD2.0 I find I barely have to use any on drums. The only use tends to be on vox and leads, and simple static M7 IRs seem to do great there.

Also, as far as the true stereo thing goes, the Acousticas guys seem intent that True Stereo isn't without its drawbacks. Apparently you can't get proper stereo functionality out of a unit with standard IRs, as you always run into some phase oddities or whatnot. I don't know enough about the process to dispute it, so I've just kept on using their standard mono-to-stereo ones.

I think what we really need is for Nebula to actually step up the game and turn into a proper product with packaged verbs. That would be something else entirely.

What do you mostly use the Old Timer on CJ? I've yet to find its niche in my workflow, so I try it here and there but for the most part im still digging the SSL E-channel in-line comp for convenience and the Stillwell Rocket for the pumpmania stuff. Some have said drum bus, others have said vocal warming, but I'm not sure!
 
Great post, will look into the plugins mentioned :).
Are you using the old timer in your master chain ?.. course im kinda looking for a good master bus compressor that does not cost to much.
 
There was a site that had a bunch of free IRs of like, megaphones, telephones, answering machines, someone's mouth, a forest :)lol:), bathrooms and many, many other things that I thought were pretty useful. I'll try to see if I can dig up the site! Good finds though Ermz, Old Timer seems very slick, may be the next plug purchase :)
 
I just got the Soundtoys bundle a few weeks ago. Makes any of the waves effects look like complete shit.
 
What do you mostly use the Old Timer on CJ? I've yet to find its niche in my workflow, so I try it here and there but for the most part im still digging the SSL E-channel in-line comp for convenience and the Stillwell Rocket for the pumpmania stuff. Some have said drum bus, others have said vocal warming, but I'm not sure!

I still love the E-channel and it is my go to strip for sure, BUT, nothing and I mean NOTHING has the same transient affecting and 'biggenation' (thanks Slippy!) properties as the Old Timer.

Frankly, it works how a compressor is SUPPOSED to work, it controls dynamics and keeps things sitting in their place WITHOUT TOTALLY FUCKING OVER THE TRANSIENTS. It just sounds smooooth to me and the subtle coloring it has in indeed an added bonus.

I'm my current project I've got it running in series on my Kick, Snare (actually I've got 2 instances on the kick AND snare, each one doing a hair or two of GR with slightly different settings). On bass, again, it's getting use and also Toms! And FINALLY, I'm talking maybe .75 or 1dB of GR on the 2-buss, which is making gel FANTASTICALLY. Like I said, listen to how this thing controls and shapes the transients of the program material, it's awesome (at least for the sound I personally like).

ALSO, another plug of mention, this is also FREE, issssss:

Denisty MKII
http://bootsy.cr68.com/plug/DensitymkII.rar

PEOPLE, this plug is a fucking KILLER on the drum buss!!! Talk about SMACKK.

And Ermz, I've never gotten along w/The Rocket. I've just never found a use for it or a source where I've liked what it was doing. I like it's concept and all but, I'm just not into it.

I will say, with the release of these few plugs, I am slowly shying away from the Waves SSL as my 2-buss comp of choice. I never liked what it did to my mixes and I always mix INTO my 2-buss compressor from the get-go (or at least very close to it). It shrinks the stereo image and is just kinda blah.

Also, on my quest for a dirty, brutal compressor for vocals, I am LOVING this:
http://hem.bredband.net/tbtaudio/archive/files/TLs-2095-LA_v1-1.zip

Release 1 and 2 at near 0, pressure to taste and viola. I love how it brings the ambience out of the vocal track. But, I'm a sucker for that. Would be cool in parallel because it is a pretty brutal compressor!
 
You seem pretty psyched about the Old Timer. Cool stuff. I'll have to delve into it a bit more. I seem to be inherently daunted by its 'time' control rather than att/release parameters for some reason.

The Rocket is really cool on parallel and room work. Whenever you need something to PUMP and sound really DENSE is when it comes into play.

The Density has been receiving some good reviews over on GS as well. Once again not something I can get into due to having an outboard GSSL I run the mix out to. Nothing quite like having the entire mix envelope at your fingertips!

Agreed re: the Waves SSL Bus comp. I realized what it was doing as soon as I got the GSSL. There is no comparison.

Cheers for the vocal comp suggestion.
 
For sure man. Ideally, I'd love to have a G-SSL or some similar outboard to slap on my 2-buss. I'm still not quite 100% with any comps I've tried on my master, but I do know that I get along much better with a little bit of 2-buss comp than without =D.

I agree with you on the "Time" control. It kind of weird me out too but for whatever reason, it seems to just work!

Same with denity, I'm not crazy about the controls (especially the Range knob, ehhh, too much control for me, haha) but it makes up for those short-comings w/it's sound on the drumbuss. That's about all I really like it for, not good for 2-buss use IMO.

Play w/the Strict and Relaxed knob, that's the key to Density. You can really enhance the transients by setting it more to the 'relaxed' side. I'm not sure how exactly it works but it's very cool never the less.

Cheers man!
 
For sure man. Ideally, I'd love to have a G-SSL or some similar outboard to slap on my 2-buss. I'm still not quite 100% with any comps I've tried on my master, but I do know that I get along much better with a little bit of 2-buss comp than without =D.

I use the Waves 2500 on damn near everything. EVERYTHING. Haha. It's almost sad.
 
Hey guys, I was using the PSP Oldtimer for a while and I really liked it, thought it sounded really nice. It kept crashing my PT8 on my Mac and I gave up after a while. I read on the Digidesign forum that others were having the same problem. Anyone else getting this? Seems to have been when it saved, manually or auto
 
Also, on my quest for a dirty, brutal compressor for vocals, I am LOVING this:
http://hem.bredband.net/tbtaudio/archive/files/TLs-2095-LA_v1-1.zip

Release 1 and 2 at near 0, pressure to taste and viola. I love how it brings the ambience out of the vocal track. But, I'm a sucker for that. Would be cool in parallel because it is a pretty brutal compressor!

This compressor is amazing! I really love how dirty it is. Works perfectly,in my opinion, for extreme vocal styles.
 
Just spent a few hours last night trying out the demo of PSP Old Timer.. I loved it and at the same time gained alot of insight on how compressors work resulting in my mixes/mastering improved alot.. Defiantly gonna buy it next month :)

Another thank you for this heads up thread, always interesting to check out new plugins
 
Likewise. I just got the demo license now. Will try them out on a few mixes and see whether they're worth the price tag.

Also as far as using Density on the drum bus.... I usually need my drum bus compressor to take AWAY punch! The serial compression I use on the tracks tends to make them really poppy, so I need something to glue it all back in.. very limiter/1176-like. Something that 'grabs' transients isn't quite so much use. In fact the GSSL does that *really* well on the entire mix bus.
 
There seems to be a lot of people recommending easy-to-dial, go-to compressors. I'd have to say the Massey CT4 is a really good one and is dirt-cheap considering the quality of it. Smack! is also a great compressor. Both are very easy to use. Smack! is amazing on vocals in opto mode...works like any old school limiter. I use it a lot on room mics and for some parallel compression on drums too. The harmonic distortion feature is awesome.
 
Likewise. I just got the demo license now. Will try them out on a few mixes and see whether they're worth the price tag.

Also as far as using Density on the drum bus.... I usually need my drum bus compressor to take AWAY punch! The serial compression I use on the tracks tends to make them really poppy, so I need something to glue it all back in.. very limiter/1176-like. Something that 'grabs' transients isn't quite so much use. In fact the GSSL does that *really* well on the entire mix bus.

Haha, that's why I wish I had a G-SSL or similar. I too, use tons of serial compression (actually, I never find myself using anything in parallel in anything that wasn't my own (and even then, it'd be screwing around).

I hear you on the drum buss comp. I can see it visually, but it's hard for me to explain what I usually like my drum buss comp to do. I suppose tucking some of those intial, peaky transients back and adding some glue to the kick/snare/toms.

Basically, I use my drum buss comp to keep any of my drums from poking out in the mix in a very bad or obvious way and also, to keep some semblance of clarity so that every hit can be heard but not like, "WHOA I HEAR THE SNARE". I want to be able to hear and visualize ''the drums" as a whole, I suppose and not like each drum is competing against the other.

Ahhhhh, the ills of audio engineering. Shit drives me crazy!! =D