Starship Krupa

Kidding aside, it seems like a good opportunity to clap on a set of headphones and fire up Metric AB and listen hard to what sounds better to you about the Mixea'd track. There is no way on this green Earth that you don't have the tools, the question is which ones and how to apply it/them. The first time I tried running one of my mixes through Ozone Elements (both the presets and the Assistant) was a sobering experience. Remembering the legend of John Henry, I scraped my ego off the floor and got busy with the other tools I had available and worked until I could equal what Ozone was doing, and then I worked some more until I got something I liked better than Ozone. You said "clarity." Try patching this in: https://www.plugin-alliance.com/en/products/spl_vitalizer_mk2-t.html

Sounds like your budget is higher than mine, but I just bought one of these Blue Baby Bottles on sale at Amazon for $164: https://www.amazon.com/Logitech-Creators-Microphone-Recording-Streaming/dp/B01N7TTXZ5 I'm not much of a mic maven, but years ago a studio owner friend of mine used one of these to record me and it sounded great.

Hmmm. Must figure out what the magic pixie dust is there. If the guy with the most audio processing software of anyone I know is impressed, it must be pretty impressive.

Odd duplicate post....this space was intentionally left blank.

Yeah, that was the intention when I started those 5 years ago. The rules/suggestion are that these are 64-bit plug-ins that people have tried and are known to work with Cakewalk. There's a LOT of good stuff in those topics, so go check 'em out if you haven't. And bump them if you can. I've never been able to get TPTB to sticky them. I understand why that might be, they may not want it to seem like these products are endorsed by them in any way. It's an indicator of the cultural firewall between the Coffee House part of the forum and the Cakewalk part that there are so many users of each that don't know what's going on in one or the other. There's plenty of stuff in those threads that I don't think has ever been posted in Deals because they weren't news, rather stuff that had been around for a long time, like the Dead Duck stuff. They also have some historical value in showing how the freeware world has changed in the past 5 years. The starting principle, that it was possible to put together a studio using only free software, is probably something that 5 years on, nobody would even question. I counted, and just between the two FX bundles that I recommend everyone install regardless of what else they have on their system, Kilohearts Essentials and MeldaProduction FreeFX, there are over 70 top quality plug-ins. The ratio of small freeware-only developers to industry leaders giving away loss leaders has also changed. These days you could say that it's possible to make it happen using only major companies' free loss leaders. Also there's been the phenomenon of middle-sized developers closing shop and releasing their entire line for free and/or releasing older versions for free (you can pick up some very nice ToneBoosters plug-ins this way).

I've wondered whether there's any connection between Negativland and Freakshow Industries. Other than the fact that I love them both and they seem to have a similar sensibility.

I also still have my copy of that. The later controversy around it came as a surprise to me because when I was a teenager the model looked to me like a young adult woman who happened to have small ones. She always looked to me like an 18 year old rocker chick 'cause she also looks kinda stoned. She's 11 in the photo, definitely an early bloomer.

Maybe it's for Detroit Techno....

Gee, Peter. A comment like that could also be taken as "you don't need it because your recordings already sound fantastic." Remember how I did that with your assertions that you have a crappy singing voice? I would love to have a voice with that character. I think my singing voice is kinda bland by comparison.

The limiters in my kit include Unlimited (a really good freeware one), the ones in Ozone, and Boost11. Sometimes I use an all-in-one on the master bus, like T-Racks One or bx_masterdesk. For simple safety limiting, I put an instance of Kilohearts Limiter on every softsynth track, set to clamp at -3dB. A limiter can be a pretty simple thing, it's a compressor with the ratio cranked over 20%, so if all you want from it is limiting, MCompressor and any number of other compressors can do limiting. We usually want some fanciness, though, in our bus limiters. Here's are screenshots of one of the MDynamics limiter "devices" or "easy screens," both with the faceplate and without: I also popped open the multiparameter panel. With devices/easy screens, the knobs on the faceplate are connected to multiparameters. Multiparameters is their term for taking multiple different plug-in parameters and tying them together so that you can adjust them with a single control. There are also modulators, which allow you to modulate any parameter, such as with a waveform (LFO) or envelope follower (to set up things like autowahs). Someday I'd like to learn enough to make my own easy screens. Aside from the 3 limiter devices, there are a couple of limiter presets from before there were devices. When I first started taking notice of MeldaProduction, Vojtech was more outspoken and idiosyncratic, more steadfast in his views. There didn't need to be any MLimiters because what a limiter does is so close to what a compressor does that all you need is to make an MDynamics that is versatile enough to do anything you could possibly want to do in regard to dynamics. He was very down on "vintage mojo" and while I sometimes want some of that, like with my beloved T-Racks 670 (a compressor that's modeled on a device that was called a "limiter" by its manufacturer), I agreed with him in principle, that there was no reason to be constrained by the limitations of decades ago. In his philosophy at the time, if you wanted some analog "mojo," that mojo comes down to non-linear frequency response and added noise and there's no need to build that into a software compressor. If you want to fiddle with your frequency response, use a little EQ, if you want floor noise, use a noise generator. Both of which you can have for free in the bundle. He's since either mellowed on that or at least conceded that not everyone understands things as well as he does with his likely genius IQ and engineering education. Sure, you can make a credible LA/2A using MCompressor and MEQualizer, but who knows where to begin? And why would you want to, when IK or Waves will sell you a pre-rolled solution for $30 that you can just throw on your tracks and get the sound of an LA/2A without having to reverse engineer it yourself? Who cares if MDynamics can be used to emulate any dynamic processor if very few people are actually savvy enough to do it? That's why I have two different categories for dynamics processors and EQ's. There's the precision ones (MeldaProduction, Kilohearts, FabFilter, iZotope) and the character ones. I prefer Melda for the precision stuff and T-Racks and brainworx for the character stuff. Of course there's plenty of overlap, Melda now have their "vintage modeled" processors like MTurboEQ and MTurboComp, and IK have paragraphic EQ's and compressors that don't try to emulate anything, but I tend to like IK's character ones better and Melda's precision ones better. Here's a strong suggestion about MeldaProduction plug-ins: since they make it easy enough, pop open the toolbar that most of them have on the right hand side and flip it between L+R and M+S, try it sometime. Especially with ones that affect dynamics, like compressors and limiters, but it also can apply to others as well. If you haven't tried this, do it and listen to what happens to your stereo image. M/S dynamics manipulation is one of my favorite mixing tricks, mostly because as a listener, I love ear candy like that myself, especially with electronic pieces. Oddly, it wasn't a MeldaProduction product but a T-Racks product that first turned me on to it, turns out that their 670 has a couple of presets that take advantage of the M/S capability and I tried one and was immediately sold on it.

I do I do! I put it in my mastering chain, usually switched into M/S mode. It's my go-to mastering limiter.

I did as you said and it updated my Melodyne 5, but I don't know what "Michigan" updates are.

I love love love Studio Ghibli and Hayao Miyazaki. This began with the US premiere of Princess Mononoke, which an anime fan friend of mine got me to see at Embarcadero Center in San Francisco. I was immediately hooked. It was Princess Mononoke getting a US release on DVD that was my trigger for buying a DVD player. The anime love stuck, too. I had been a fan of Japanese cartoons as a child, Wonder/Amazing Three, Astro Boy, Speed Racer, and Gigantor. Princess Mononoke reminded me of how great those were, how much more complex and nuanced the stories were compared to American animated shows. Since then I've watched as much as I can get hold of. Particularly a fan of Neon Genesis: Evangelion. When you said "everything they do is classy," I did wonder if you include Pom Poko, which I haven't yet seen, but which reportedly features body humor in the form of mythical heroic raccoon dogs who parasail using their nutsacks. Some things just don't translate well, I guess. I love Hisaishi's scores, but find his choice of instruments in the earlier stuff....wanting? It sounds like he used a Roland Sound Canvas while writing it, then instead of giving it to an orchestra, shipped the Sound Canvas recordings. Very "General MIDI" sounding. I was happy when he ditched that approach. Have you seen my Cakewalk theme that was inspired by Neon Genesis: Evangelion?

You can get a pretty good idea of what it's capable of due to there being over 100 Chromaphone sounds in Swatches. Of course the trial is the way to go to find out whether you like the programming. Speaking of programming, synth programming is something that has almost entirely eluded me over the decades, starting 25 years ago with the purchase of my Yamaha CS6X and up through today, with the collection of virtual instruments both relatively simple and hideously complex. To me it remains as opaque as trying to use a Glitchmachines processor. As in, I can twiddle knobs and make it sound different, but I am unable to start with a sound in my head and then use one of my synths to get it except by browsing its presets. Fortunately, I have enough synths that browsing all their presets would take days, so as long as I can remember what each of the instruments sounds like in general, I can find something. And speaking of CM-101, I remember that one! I installed it and worked my way through the tutorials and....yeah, oh well. Sometimes I just have to accept that there are things that I may never get good at and move on.

I wouldn't put DC-106 in there with the other ones you mentioned. Somewhere between the top tier and stuff like Union and Imperfect. I think it sounds great, really good basses. It's a matter of personal taste and perception. A|A|S have a fancy aura to me. That modeling engine of theirs is amazing. They must use the same basic engine for most of their synths, at least the ones that they sell soundpacks for. Their player will play any of them. Objec Delay is a fine, fine processor, too. The ones that I think are real sleepers are Hybrid 3 and Vacuum Pro, especially the former. Very light on the CPU and sound great.