![]() ![]() The dynamic EQ might be a step too far for many (though it might be a good addition to the vocal chain for singers.) The big winner, to me and probably for anybody doing solo work with backing, is the 元. A detuner is just an effect that people might not need. I’m not a fanboy, and I don’t expect to become a plugin addict. The nice things are that the collection of plugins is gigantic (too much choice, frankly), the barrier to entry is low, it’s not some free thing from an unknown (malware) source, it has low-latency options, the CPU load is reasonable, the user interfaces are clear, and they do good quality work. I simply can’t tell in real time, and for every improvement, there can be an artifact, so the jury is out. On the autotuner, I’ll need to buy it and play with it for a good long while to see it it’s useful or not. I haven’t yet played with the F6 dynamic EQ, aside from adding it to the vocal chain and giving it a vocal preset (kill the lows and clarify the high mids), but I’m confident that it will work well. The Vocal Bender is really good for single guitar notes. It will take me some time to see if I like it.Īll in all, these plugs have low latency, the CPU hit is reasonable, and they seem to have good quality. The last thing I tried is Tune Real Time, which is an autotuner with low latency that can be subtle. Oh, and I mapped a pedal to the formant, so I can change the tone from a sine wave to gritty. Vocal Bender stays strong across the full range of the guitar. (doublers respond more quickly to high, frequencies, so I prefer to double down, rather than up.) I tried a free octave doubler, but it got very weak on the high notes. In my specific use, I need to play on the upper frets and double an octave down. ![]() It works well on single notes, has variable formant, and sounds good, so I’m good to go. Waves recently released their Vocal Bender product for retuning voice. Line 6 has Helix Poly Capo, which seems to be excellent, but I didn’t find a standalone version. What led me to the Waves family (in addition to its reputation a decade or two ago) was the need for an octave doubler on the guitar. It also has low-latency for live performance and does its magic hands-free. I can use it for poking a hole in the bass for the kick drum. I’ll also demo the F6 Floating Band Dynamic EQ. The MON out put can include a click, as well as a personal mix. I’ve gone with the 元-LL Ultramaximizer (it’s simpler, with lower CPU load - for ear protection) on the monitor (headphone) output. ![]() I ended up with the Donal Hodgseon preset, pulled the output down a touch, and I’m there. I put 元-LL Multimaximizer (1.5ms latency) just before the output, and after perusing some - and choosing one - preset, the result is just what I wanted. ![]() I just threw some free VST at it to start. One of the first things I did was put a multiband compressor in my global rackspace. Naturally, I’m approaching it from an auto-mastering point of view, rather than a mixing-board-with live-engineer world. With Gig Performer, I’m developing a one-man-band with backing tracks set for micro-venues. The technology brought my masters to the next level. While studio rats had been using multiband compression for years, amateur computer-oriented musicians only started getting our hand on it in that timeframe. My most recent efforts (mainly in the 2010s) were composing to picture with (mostly) orchestral samples. ![]()
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