Piotr

45 minutes ago, Sander Verstraten said:

Probably gonna pass on this one, unless it is a huge step up from their previous Amp Sims. 

They are OK but nothing that can't be done with AT4 or TH-U

Yup, pretty so-so... unless this one is very exceptional...

And additionally terrible support... Close do abandon-like type...

After 1 year losing ability to download what you have bought... So forget not only about updates...

For me instant deal breaker - I wish I knew it before I bought from them few years ago.

There are tons of better, cheaper and with better support amp sims around...

After 2020 which was so tough for many of us in many different areas I wish all the best, health for you all and your families, great music creations, nice deals for us but also many sold software for developers.

4 hours ago, Doug Rintoul said:

Wonder if we will get 18, 19, and 20?

Hm, after giving away 17 packs they can humble assume we are encouraged  to buy 3 to complete all

And still available free   JRR Sounds Super Natural Kits Vol.8 Jazz Brushes Kit Sample Set

https://www.jrrshop.com/jrr-sounds-supernatural-kits-vol-8

Marry Christmas to everyone and everywhere

Stay safe and healthy, you your families and friends.

45 minutes ago, ZincT said:

it reduces the voucher amount (VAT?).

R y sure?

20 EUR ~= 18 £

2 hours ago, simon said:

What did you upgrade from and to ?

I came from AT4 studio max  >  AT5 SE

other seem to be having issues:

https://cgi.ikmultimedia.com/ikforum/viewtopic.php?f=5&t=26219

I didn't decide to upgrade yet. Just for a sake of curiosity used AT5 CS  to see what is the animal.

I have AT4Max (only lacking Satch things)

Interesting tool. If anybody doesn't have iZotope or similar tools for splitting tracks could be very useful. And is giving more freedom to pick...

It would be great if possible to select few areas. Havn't seen it in video...

9 minutes ago, Grem said:

Listened to a few of the examples... not sure how I could even use 'em!! 

Hard to pass....

But I think I will.

yup, similar thoughts...  in my case additionally I am not a reggae fan so no idea for finding a purpose... Some of patterns like in examples we can create by our own at will anytime...

6 minutes ago, simon said:

I'm looking in the Custom Shop 

It also look ok for me. Are you sure you logged in into CS? After reinstall it reset and not kept my creds so I needed to re-login to it again

1 hour ago, simon said:

Anybody missing their 'Max' stuff in AT5 SE.

AT4 max had Fender Collection 2 and SVX 2 - but these are missing from my AT5 SE ? 

 

I checked mine and have both. What do you see when you are selecting collection view?

Hm, while plugin is working for me, standalone app has an issue with input/output setup (RME ASIO).

Seems it is messing up something with input/output names/numbers... To be able to hear a sound I needed to select very strange combination.

Analog 2 (1) + Analog 4 (1).  3+4 or 4+4 were not working.... 

In AT4 only 4+4 is working what makes a sense as guitar is plugged into input number 4.

What is even worse after playing a little with AT4 and trying different combination to compare against AT5 behavior I was not unable to find any working combination in AT5 anymore during setup...  Quick back to AT4 to check and it is still working solid as rock...

But if set without any positive visual feedback on meters and confirming it it started to play...

Seems standalone not in gold yet. Hope IK will fix it soon

And still lacking count-in for AT recorder is a kind of a lame

2 hours ago, cclarry said:

There is a HUGE-GIGANTIC-ENORMOUS difference IMO.  A4 was "meh" to me...
THIS, on the other hand, is INDEED a leap forward IMO.  

Larry, just for a sake  of curiosity, did you play with changing speakers in cabs in AT4?

Some defaults were also for me meh, and some cabs sounded terrible but exchanging them changed a lot.

On the other hand some defaults were in my favorite to-go

7 hours ago, Zo said:

Yep homie , check my kvr thread and more coming , th3 and comp g is one of them ... if i could i would seel some PA first befor those since they sound damn good , but that s the only thing with a good resale value today lol with softube ...

i also have izotope stuff ...

Thnx, Zo, checked. Dopamine is not on my radar unfortunately. The rest I have got some time ago

Good luck with sale.

I would be probably interested to join group buy if any for this but I am afraid not this year.  Money spent or reserved for other things.

1 hour ago, Zo said:

I got one for sale , test it and tell me

Any other GEMs on sale from you?

17 minutes ago, Soundwise said:

In case they implement this feature, I doubt it's going to be a free update. More like a new major version with an upgrade path.

Who knows? They have upgraded their 1176 significantly without  any additionally price for owners of older version...

I wrote to XLN support about madness of forcing to install totally useful versions of plugins and lack of choices for user.

Got an answer they are developing it and my concerns will be passed to devels. We will see. 

I hope they will be caring more about user opinion sent to them than Overlaud (still waiting for fulfilling their promises about Tapedesk controling on many tracks at once).

12 hours ago, RSMcGuitar said:

Now their installer is WAY newer than their products 🤪

Yup, pretty unusual situation

Seems it is for them first priority. Although it is a pity the thing is still terrible dumb and forcing to install trash like 32-bit without any choice. And offering 'repair' (lol) option when it is removed manually by user. 

I am putting 32-bit things paths always on RAM disk, not to need to erase manually, but stupid installers like XLN or NA are alerting there is something to repair...

7 minutes ago, cclarry said:

It's pretty amazing that they can get that kind of sound in 11 mb...

But... but... Larry... it is fake... it is not real virgin choir 😛

43 minutes ago, Zo said:

Anyone actually tested the plugin lol before buying , you guyz are craaayyy craaaayyyy  :!!!! 

No need for any test, we are just collecting

7 hours ago, Brian Walton said:

CLA the same guy that doesn't even use his own "signature plugins?"

I do not really  understand such argument. Often seen on different forums but how does it really matter? It doesn't prove anything. 

He has got his great SSL console and lots of other excellent hardware he has invested for years and sound great so why he should suddenly abandon his favorite path proven to give best results just for a sake of using his signature plugin. Especially he is really fast with it.

Does it really mean 'his' plugins are bad? I wouldn't say it. They did great job. CLA compressors have been used for years by many mixers including Grammy nominated.

In the end of the the skills matter not used gear/plugin. CLA could mix using only plugins with better result than avarage mixer with  all best hardware available.

But he doesn't need to prove anything. It would be childish challenge. He just earn money doing every time the best he can. Using the best things he have.

7 hours ago, Brian Walton said:

I also know Grammy winning engineers that are very good at what they do, but don't have the ability to discern very minor changes in sound, such as the ratio or attack and release times in a compressor in the context of a mix.

Yes, they are human beeings, Is really anybody able to hear different in mix between settings like 10 ms and 12 ms if it doesn't affect transient? 

And in fact how does it matter? They want to mix in a way that end result will sound great. If people feel they reached the goal how it matters if they are not hearing minor differences? If people listening to their mix are considering it as great but hearing those minor differences so maybe they are missing something in this art?

8 hours ago, Brian Walton said:

If a plugin maker doesn't have good enough ears to discern certain characteristics and changes in sound then, yes, I'd say that kind of matters if they have a goal of creating something that basically sounds like something else.

Well, I didn't consider just any plugin creator that just has a goal and that's it. Finding right method and implementation requires understanding topic.

If they are able to discover a method with use neural method to train it using thousands of examples of great mix they could create something. If their result would be promising just market natural selection would appreciate the result. If result is bad market will ignore it sooner or later (if tricked by other things like gui, marketing promises etc).

8 hours ago, Brian Walton said:

The problem with audio is there is a ton of snake oil.  You can make a simple one knob plugin that simply compresses and adds eq at a certain frequency range and as long as you pick a frequency range that is in a non-harsh range you have a plugin someone will think is magical as it can bring out or emphasize something in the mix.  Look at the Aphex Exciter....that thing was considered magic and yet you push it a little to far and it the most awful thing you will ever hear.  All you have to do is simply change the sound and there is someone out there that will like it, even educated people.  

But is it really snake oil?  There are many pedals which knobs are working bad only in 1 position even having big range. Lots of people are complaining as they expect it will sound great in any position. So are they snake oil? 

I think if there is even small range settings that sounds great and is giving something not met for other things it is not.

It could be not worth money for somebody. Understood.  But worthless?

8 hours ago, Brian Walton said:

edit:   look at all the TS-9 or TS-808 pedals sold and the high prices for originals.  Anyone with half way decent hearing knows those things can destroy good guitar tone.  What they can do is cut through a mix by re-equing the guitar signal and adding not exactly world class harmonics/distortion, and compress so the guitarist doesn't have to control their own dynamic playing.   But people buy them because they read everyone uses them and SRV had one, and they are the only thing in his rig they could afford. 

Yep, true, great example...  They can destroy if badly set but are they snake oil? Lots of great guitar players used it in the past and some continue to use, Do they sound bad? They know how to use the gear so know deeply when it sound bad and when it sound good. But some of pedals could be just a kind of lucky random creation.

But somebody who has good skills could test it and find a specific range when it shine...

Do you believe all hardware designers were truly aware about all sound consequences of their creation? In the past compressor were designed just to control dynamics, right? Was anyone thinking about warm or distortion in sound which would be heard as pleasing and helping in mixes?

They just were not able to create compressor which is clean at those times.

And its sound character was appreciated most when digital era started. As people felt lacking something.

But what if many years ago it would be possible to create clean and transparent compressor? And with possibility to move freely between different settings?

And people were used to hear compressed in that way music...?

17 hours ago, Brian Walton said:

I also don't think the people creating the plug-in have ears like Ken Fischer did. 

Sure, but does it really matter?

17 hours ago, Brian Walton said:

So the idea that these plug-in creators are even capable of creating something that is the greatest audio processing unit of all time is equally unrealistic.  

I disagree with it. They only need to discover method and implementation. About sound they will just hire top mixers for help about decreasing range possibilities to reasonable etc... In fact this is the way how many signature series of plugins were created... Do you believe CLA was programming  algorithms or even create methods of measurements? 

It is just expanding idea leaving limitation about similarity for given hardware piece.  API 2500 compressors have their own signature and SSL E their own but what about something what can freely move from feature of any compressor still keeping that hardware like feelings... etc... There are already some plugings which are trying  to have a few algorithms to pick like an option. I am thinking about something just bigger and not limited to discrete settings.  To eliminate total rubbish (so to avoid infinity of readings) neural network could be used to support the process.

17 hours ago, Brian Walton said:

I appreciate the notion of going beyond a clone of the hardware in this digital age.  I don't want to have unnecessary limitations, etc.  But I also don't have unrealistic expectations that these coders have better ears than the giants of the audio world.  

But they don't need to... Waves for creating CLA series asked CLA for help not leaving sound judgment for programmers or app designers or PMs

18 hours ago, Brian Walton said:

Which plug in makers can tell you what comp or eq was used on some random album track that was recorded by someone else by ear alone.  I'm going to bet not one single person can do it with even 80 percent accuracy.

Well, on the end of the day, the most important is just result. No matters if anybody can recognize   used hw model or even preferable if it is not possible

It is all about music, and additionally tastes are changing. We like sound of heavy compressed vocals in pop as we are used to hear them from our childhood (and it is an way to let it hear in dense mix at all ) so it sounds for us right. We are trying to keep  some proportions expected for  a given genre. Until somebody crash the rules but keeping it sounds great  in a way that can attract us. Just like mixing different styles of music.  Before gothic metal gained appreciation how ridiculous could sound idea of mixing heavy metal with opera?  Mixing behavior of different hardware existing or not existing is giving infinite possibilities so something great is probably waiting for us still hidden

I would say it is kind of philosophical topic... Typical for vintage hardware was every single piece of hardware were a little different. 

So if every 'copy' was different which one was sounding most vintage?  And if every copy was different how can anyone be sure a given emulation is not emulating that one which was very rare and not met by person who is judging what is sounding vintage and what is not?

It is obviously some of range of sound with some similarity each to other to be in a family...  But how can anyone be sure (including top mixers) that he has had or heard the best copy ever produced? Maybe somewhere in garage in small country a hobbyist has the one? 

But if so why not make emulation which cover whole range of similar sound not just following exact copy but rather trying to emulate signature matching sound for every family member?

And even going further... How can anyone assume the best possible copy for any family was ever made?

Because of that randomness it is possible - for instance - that if part X1 has 581 value not used in range for given part tolerance 480-550 it would sound the best and magical?

So concluding I share the point of Vojtek in that matter, no special reason to focus strictly on emulation of exact hardware as it is limiting in fact to some - maybe great and proven -  paths but still it is blocker for evolution and finding something even better... What sounds great but like nothing what was made before... and whenever...

6 hours ago, filo said:

I'm looking forward to Piotr's comment

Well, you know what I can say - in fact I could put it into my footnote

They have fixed price politics and such approach for their current heavy hitters and I don't blame them. I just stopped to buy after a dozen RIGs. It was getting too pricey and to risky. IMHO they are losing part of market, but it their choice.

Only exception last month was Vox I just had to and it was by them not 3rd party RIG so less risk in blind buy and in result big fail