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Post by gouge on Jul 15, 2019 5:30:10 GMT -6
Acustica has this one for free on their website.
just noticed some other free stuff like titanium 3 Basstard
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Post by iamasound on Jul 15, 2019 8:40:21 GMT -6
I grabbed it but have yet to install it. I have an older free Tan equalizer that I use that is pretty great sounding.
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Post by gouge on Jul 15, 2019 16:07:23 GMT -6
I grabbed it but have yet to install it. I have an older free Tan equalizer that I use that is pretty great sounding. i tried them last night. excellent plugs. i ended up using the basstard for the bass followed by the coral for the shelf. kinda turning them into a 3 band eq. gotta say the tone is fantastic.
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Deleted
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Post by Deleted on Jul 17, 2019 2:35:30 GMT -6
Well, TAN is actually the SSL bus comp, But there is a red pre with fixed 3-band, that can sound cool at least on some sources. There is a kind of graphical EQ called Ochre, this one has something. They also had a tube pre for free, but took it down, it made too much hassle, the first free plugin. In Computer Music there were at least 2 other free Acoustica plugins, a cool 4-band EQ and a multiband-compressor/limiter, which is incredible cpu hungry (forget about more than one instance or other plugins at the same time...) but sounds reaallly good. However, thanks for the head-up.
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Post by gouge on Jul 17, 2019 3:46:35 GMT -6
ive got a few of their previous freebies and found them ok but they didn't last for me.
so far im finding these latest 2 a step up sonically but need more time.
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Post by Deleted on Jul 17, 2019 21:28:10 GMT -6
As for TAN: This compressor is probably the second most used compressor in my Mixbus projects, directly after Klanghelms MJUC. It does pretty exactly, what the SSL bus comp does, it has the glue, it behaves like one, and it is a great drum smasher and usable, whereever you would put the hardware. I would not be able to tell, if it is a hardware or plugin device, if I just hear it, not in a double blind test, I am pretty sure. I have a half finished bus comp clone laying around that most probably will not get finished, because I use TAN anyways.
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Post by the other mark williams on Jul 18, 2019 4:28:24 GMT -6
Well, TAN is actually the SSL bus comp, But there is a red pre with fixed 3-band, that can sound cool at least on some sources. There is a kind of graphical EQ called Ochre, this one has something. They also had a tube pre for free, but took it down, it made too much hassle, the first free plugin. In Computer Music there were at least 2 other free Acoustica plugins, a cool 4-band EQ and a multiband-compressor/limiter, which is incredible cpu hungry (forget about more than one instance or other plugins at the same time...) but sounds reaallly good. However, thanks for the head-up. Tan is actually one channel of an IGS Audio Multicore Comp. (Obviously very similar to an SSL bus comp.) Sand is the actual SSL. Acustica makes some weird, annoying plugins that range from “good, but no better than the top algorithm plugins” to “holy shit, I’ve never heard that class of sound from a plug-in before.” There are definitely some major annoyances, though. They’re not for everybody. I’ve got a half-dozen of their plugs, and the ones I’ve got are great, IMO.
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Post by jcoutu1 on Jul 18, 2019 4:45:54 GMT -6
Well, TAN is actually the SSL bus comp, But there is a red pre with fixed 3-band, that can sound cool at least on some sources. There is a kind of graphical EQ called Ochre, this one has something. They also had a tube pre for free, but took it down, it made too much hassle, the first free plugin. In Computer Music there were at least 2 other free Acoustica plugins, a cool 4-band EQ and a multiband-compressor/limiter, which is incredible cpu hungry (forget about more than one instance or other plugins at the same time...) but sounds reaallly good. However, thanks for the head-up. Tan is actually one channel of an IGS Audio Multicore Comp. (Obviously very similar to an SSL bus comp.) Sand is the actual SSL. Acustica makes some weird, annoying plugins that range from “good, but no better than the top algorithm plugins” to “holy shit, I’ve never heard that class of sound from a plug-in before.” There are definitely some major annoyances, though. They’re not for everybody. I’ve got a half-dozen of their plugs, and the ones I’ve got are great, IMO. They definitely have someone great doing their graphic design. Everything looks like the coolest piece of hardware that's never existed.
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Post by gouge on Jul 18, 2019 6:50:29 GMT -6
As for TAN: This compressor is probably the second most used compressor in my Mixbus projects, directly after Klanghelms MJUC. It does pretty exactly, what the SSL bus comp does, it has the glue, it behaves like one, and it is a great drum smasher and usable, whereever you would put the hardware. I would not be able to tell, if it is a hardware or plugin device, if I just hear it, not in a double blind test, I am pretty sure. I have a half finished bus comp clone laying around that most probably will not get finished, because I use TAN anyways. im a big fan of mjuc. how hard are you hitting tan. I kinda felt like beyond a certain point and it made things smaller and I just couldn't find the skills to make it work on everything, so I jst stuck with mjuc, waves api2500 and 1176 and drawmer s73. lately the js master tom too. so far, the coral seems to work better with a good level going into it. seems to do a fair bit on master buss but across a channel it's less noticeable. ill try putting a gain plug before it and drive the input.
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Post by Deleted on Jul 18, 2019 7:58:16 GMT -6
ALL dynamic convolution effects that rely on a technology like Acustica Audio are picky with gainstaging. The first Nebula versions were a lot pickier than nowadays. As soon as you are going outside of reasonable input levels, things go wild. if you use proper gainstaging you hit the sweet spot of undistinguishable results. This means, that the transfer function reproduces the the "sampled" signal in a way, that you are definitely unable to hear a difference. The technology behind it seems easy from the simple theory: You use convolution, you measure the spectrum and get impulse responses. The dynamic part is, that this is done for different amplitudes, giving a new dimension to realism in comparison to convolution reverbs. Now, this is fine for everything like equalizers and reverbs. Time domain effects like compressors and other dynamic effects are obviously quite more demanding to be "sampled" in this way, obviously. If you remeber the computational demand of the early convolution reverbs on the computer technology of their time, you might imagine the critical computational power needed to do this in multiple dimensions (amplitude, time domain...). Therefore access to the appropriate IR and the actual digital signal processing is done with some nifty mathematical "tricks" to optimize this. To my knowledge, the Nebula/Aqua engine is the most sophisticated technology in this field for audio, there have been others, like Sintefex (who have the patent on dynamic convolution for audio, which is a bit ridiculous IMHO, if I think about how common dynamic convolution in other fields of sampling outside of audio world is, and how small the additional abstraction from non-dynamic convolution) and Liquid Mix from Focusrite. Maybe others that I just don't remember. The problem of the Liquid Mix, if I am correct, was the high latency of the process. Acustica has 2 levels of processing, a "zero" latencey mode to make it possible to use it for tracking, this one is very cpu demanding, and a non-latency-critical version of the convolution algorithm, which is known for the precision, and which I would prefer if working with the regular Nebula for offline bouncing or freezing of tracks. So, the principle is easy to understand, but practically, this technology needs a lot of optimization technology and is not easy to handle. The Acqua effect series hides nearly all parameters you had to go thru in the first Nebula versions from the user, so it has the maximum amount of user friendliness. This is a response to the criticism that users had on the very spartanic GUI of the Nebula versions before, that are abstract like a the LCD panel of a rack effect and faders, that drove parameters that were not easy to understand. It had a steep learning curve, while the Acqua effects are optically easy to the eye like conventional algorithmic effects, i.e. resembling the parameters of the hardware device only. Obviously they don't by the licenses for the big names, because this would be a huge cost factor for their small nice business and would affect prices considerably to the worse of the customers. So, the audible quality of effects with Nebula is pretty exactly the sonic quality of the hardware device plus the quality of the DAC and ADC that are used to make the sampling process. This is very, very realistic. All problems the technology might have on the informatical side of things aside. It is a step further from simple sampling -> impulse response and convolution to dynamic convolution with advanced mathematical/IT technology... So, in practice, the best approach to use the Acqua plugins is conventional/reasonable gain staging at all cost and lots of computational power. The biggest advantage over pure algorithmic effects is, that it does not care, what device is sampled. The quality of the result is forseeable and maintainable. You do not need 20 yrs of experience and knowledge of the devices you sample. It is like sampling technology compared to digital synthesizing in the 80s and 90s if you wanted a realistic sounding electrical or acoustical instrument. In the end, sampling and hybrid technologies win. Some Nebula libraries are made for the frequency domain and the hybrid approach with algorithmic time domain, like some of the Henry Olonga series for getting best results. Since the usability of Nebula has improved a lot in the past, and computation power becomes cheaper and more available still, it is forseeable, that this technology has still options for further development. As of today, it rivals the best algorithmic emulations and people can use their NAT "sampler" to clone their own devices as Nebula effects without knowing anything about programming. Which is great, at least...
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Post by gouge on Jul 19, 2019 21:30:39 GMT -6
you encouraged me to look at tan again.
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Post by Deleted on Jul 19, 2019 22:36:03 GMT -6
Btw., I have one Acqua plugin that I never got behind how to get the most of it, the RED EQ. Maybe the hardware would not be for me, too? I know there are others, who strap it literally over each and every track.
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Post by gouge on Jul 25, 2019 4:54:06 GMT -6
so i was reading the acustica website and the coral was designed to be transparent.
i kinda like driving the front end... hehe
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Post by NoTomorrow on Jul 25, 2019 5:18:54 GMT -6
I don't know if you guys have Nebula or have just been using Acquas but there are 4 SSL bus comps (if you inlcude Tan) that I know and use.
Tan, Sand Bus comp, the Tim Petherick L-Bus Comp and the Prime Studio Solid Compressor.
They each have their own sound and are all good. I use the L-Bus and the PS Solid a little more than the others.
Prime Studio, Tim P, SoundDrops and London Acoustics are killing it lately.
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elcct
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Post by elcct on Jul 25, 2019 5:29:05 GMT -6
You should check the Brighton one. I think this is on of the best compressors I heard so far ITB.
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Post by NoTomorrow on Jul 25, 2019 5:50:35 GMT -6
Yea the Brighton is killer
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Post by gouge on Aug 1, 2019 4:38:24 GMT -6
I don't know if you guys have Nebula or have just been using Acquas but there are 4 SSL bus comps (if you inlcude Tan) that I know and use. Tan, Sand Bus comp, the Tim Petherick L-Bus Comp and the Prime Studio Solid Compressor. They each have their own sound and are all good. I use the L-Bus and the PS Solid a little more than the others. Prime Studio, Tim P, SoundDrops and London Acoustics are killing it lately. keen to hear your thoughts on the nebula plugs and opinions of some of the stand out ones to look at.
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Post by gouge on Aug 1, 2019 4:38:42 GMT -6
You should check the Brighton one. I think this is on of the best compressors I heard so far ITB. keen to hear your thoughts on the nebula plugs and opinions of some of the stand out ones to look at.
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Post by gouge on Aug 1, 2019 4:39:48 GMT -6
does anyone else have any thoughts or opinions on nebula plugs to look towards.
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elcct
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Post by elcct on Aug 1, 2019 7:25:07 GMT -6
In Nebula world pretty much everything from TimP, Cupwise, AlexB is great. Depending what you are after.
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Post by gouge on Aug 1, 2019 8:35:02 GMT -6
who would you say nailed the 1176. the tim p u76 youtube clip sounds very good.
who would you say nailed tape.
could you recomend a good buss compressor with sparkle.
cheers.
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elcct
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Post by elcct on Aug 1, 2019 9:07:23 GMT -6
I never clicked with any 1176 style compressor and I don't use them. On a buss I always have L-Bus. I also tried Sum 100a - it also works great. I am yet to experiment with more - I haven't because L-Bus gets me what I need, so why fix what ain't broke I heard that TimP is cooking an update to L-Bus, can't wait.
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Post by NoTomorrow on Aug 1, 2019 16:53:06 GMT -6
You should check the Brighton one. I think this is on of the best compressors I heard so far ITB. keen to hear your thoughts on the nebula plugs and opinions of some of the stand out ones to look at. I would echo what elcct said.... Tim Petherick, Cupwise and AlexB are all very good. I would add Prime Studios, London Acoustics and SoundDrops. I think Tim Petherick and Prime Studios are my favorite. Tim P's Opto 3A , RA-6 limiter, L-Bus Comp, Vari-Level comp and J37 Tape are wicked sounding plugins. You do need to use multiple Neb4 instances and put the pieces in the right order for each one to get the full effect but it's worth it. I use MetaPlugin or BlueCat Patchwork to build the N4 chains and then just save as preset. So yea.... Tim P has been the king of compression in Nebula land for awhile. His EQ's are great as well but I can get the same basic results out of my Acquas and not have to open multiple N4 instances etc. Prime Studios Caribou Bundle(Neve), Sparkle Bundle (EMI), Solid Bus Compressor and De-Lady delay are all great as well. Their Caribou Neve stuff is just as good as Acustica Gold but a little weightier, thicker. I use Gold or Caribou on any track I'm going for a Neve vibe... and they each get used about 50% of the time. Acustica Scarlet 3, which was sampled and put together by Stefano Dall'Ora (who does the SoundDrops Acustica stuff) is a pretty underrated EQ. I think it's the best EQ I've ever used for shaping acoustic guitar tracks. It's clean but warm. The phase sounds perfect/unchanged but it adds life at the same time. I have almost all of the Acquas and use each for different things. Just in case people don't know..... the application Aquarius can be used with multiple 3rd party accounts. For instance, if I sign into it with my Acustica login - all of Acustica purchases/updates etc. show up. If I then logout and log back into Aquarius with my Prime Studios credentials... all of my PS plugs/updates show up.
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elcct
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Post by elcct on Aug 3, 2019 1:25:21 GMT -6
Yes, Nebula programs are not straightforward to setup at first, but it helps to think of it as like setting up hardware, but at more granular level. For example when you set up hardware a compressor, you typically cannot mix and match pre-amp, compression circuit and output stage on a patchbay. Nebula let's you get a pre-amp from compressor X, compression from Y and a limiter or something else from Z. Suddenly your sound colour palette has become enormous.
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