Plus for contrast, there’s stuff like BABY Audio’s utterly genius Spaced Out which has a completely digital design from the ground up and is totally different to work with than the faux Space Echo here, even if they share the same inspiration in part. But while I’m sure I should feel bad about using those skeuomorphic fake panels, I don’t. There are plenty of other fresh ideas in UIs, too, which I can cover separately. Somehow it’s nice psychologically to have some different stuff to look at. You can scale them to a more sensible size – that’s the main thing, to tailor them to your screen. I’m going to defend Arturia’s emulated UIs. The Delay TAPE-201 is now desirable even just for its emulation of both the Roland and Germanium preamps – enough so that you might dial the echo and reverb to 0 and just run a signal through the distortion. For instance, you might add compressors or pres for character. Arturia has been gradually adding more presets, too, so they’re harder to miss. There are a lot of emulated distortions in the FX Collection that you can use for their own character. But the actual UIs are uncommonly good and easy to follow logically, so I’m going to pick a fight with those skeuomorphic haters out there. It’s weird they’re adding scuff marks to REV INTENSITY, a plug-in that never existed in the real world, and there is useless stuff like screws and handles.
Arturia have also tweaked some of the UIs here. Hit “Advanced,” and discover a whole lot of additional options – way past what the presets alone would even let you fully exploit. Without diving in there, Arturia’s offerings here might seem like some other stuff on the market, but as you get into their modern additions, the competition narrows. It gets really heavy in Rev INTENSITY, but you’ll find goodies throughout the collection.
In general, check out Advanced settings in each for extra modulation, envelope followers, and more.
#Wpap software Pc#
It’s just beautiful being able to pop tons of these on my fast Intel PC and speedy, fan-never-comes-on M1 Mac (even without native versions). I’m not sure what this phrase “too much” he’s using is about, but then I get a little industrial late at night.ĭelay TAPE-201 he uses for flanging effects, too.Īnd I agree, this thing sounds really good even with lots of other options – the kind of accurate emulation that at one point required dedicated DSP hardware (cough). (I actually use this not as intended, too – not only on the bus, but also on individual channels for distortion and sound shaping and so on.) Really love this flanger.ĭelay ETERNITY (yeah, and don’t forget the bitcrusher in there, too), which he uses just for its resolution characteristic.īus FORCE which he uses on the bus for creative use and dirt.
SITRAL-295’s digital spectrum analyzer is also useful.Ĭomp VCA-65 for saturation and attack emphasis.įlanger BL-20 for… well, the clue is in the name. The set of tools here is great – the Saturation section alone is terrific, but it’s nice to couple that with dynamic and frequency shaping tools and different routing choices.ĮQ SITRAL-295 shapes the kick (Sweet Bassdrum, actually was also toying with this preset… nice for cleaning up the kicks a bit, a bit more sub punch and brightening the highs). But start on individual channels and you can get lots of creative effects, and yeah, if you do know what you’re doing and you watch overall dynamic levels, you could work with it on a main or drum bus or even as a mastering effect. He demos, plus my own take on this: I’m a bit scared to recommend Bus FORCE on the titular bus – lest I anger all your mastering engineers. Here’s a summary, if like me you enjoy reading and having everything at a glance.
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