Jarkko Sakkinen
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437Entrepreneur at Siltakatu Solutions Oy
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Jarkko Sakkinen
jarkko
Hands off the best Skin for @uheplugins #Diva:
https://plugmon.jp/product/mona/
There's also one for Tyrell N6:
https://plugmon.jp/product/mona-n6/
#plugmon
https://plugmon.jp/product/mona/
There's also one for Tyrell N6:
https://plugmon.jp/product/mona-n6/
#plugmon
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Jarkko Sakkinen
jarkko
Edited 6 months ago
TDR Molotok is IMHO the best thing ever in software and/or hardware when you want the most hyper reactive compressor in existence with reasonably clean sound at extremes.
In my books, when ducking with kick some other channel, it beats ShaperBox3, LFOTool and similar plugins. You get both surgical and musical off-the-bad. The sound just feels right :-)
Molotok is also great alternative to give a shot when having either 1176 or dbx160 would be, or is already used. Worth of trying out.
#tokyodawn #molotok #plugins
In my books, when ducking with kick some other channel, it beats ShaperBox3, LFOTool and similar plugins. You get both surgical and musical off-the-bad. The sound just feels right :-)
Molotok is also great alternative to give a shot when having either 1176 or dbx160 would be, or is already used. Worth of trying out.
#tokyodawn #molotok #plugins
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Jarkko Sakkinen
jarkko
Edited 7 months ago
People say me that #Kirchoff #EQ is great or even better than #FabFilter Pro-Q3 but...
Dynamic EQ is not a great tool for shaping transients as the filters are connected in series. This will result most "bending" transients as EQ points will interact and are interconnected. For shaping, band needs to be split into blocks, and this exactly what a multi-band compressor does.
This reduces the meaningful parameters to exactly one: dynamic range:
1. Define a dynamic range (in dB for an EQ point.
2. Figure out values for the parameters that keep it within that range.
So with the dynamic EQ below this would mean a manual tuning until you find some
values that seem to work, and depending on signal coming this could even mean automating those parameters, depending on how static the signal is. Also any change to the signal coming in would require re-adjusting them.
On the other hand, Pro-Q3 starts from the dynamic range as the input parameter, listens the signal and adjusts compressor parameters dynamically to stay within the range, without user intervention.
Not my cup of tea because the choice is between spending hours on it vs spending less than a minute figuring this all out 🤷
#MusicProduction
Dynamic EQ is not a great tool for shaping transients as the filters are connected in series. This will result most "bending" transients as EQ points will interact and are interconnected. For shaping, band needs to be split into blocks, and this exactly what a multi-band compressor does.
This reduces the meaningful parameters to exactly one: dynamic range:
1. Define a dynamic range (in dB for an EQ point.
2. Figure out values for the parameters that keep it within that range.
So with the dynamic EQ below this would mean a manual tuning until you find some
values that seem to work, and depending on signal coming this could even mean automating those parameters, depending on how static the signal is. Also any change to the signal coming in would require re-adjusting them.
On the other hand, Pro-Q3 starts from the dynamic range as the input parameter, listens the signal and adjusts compressor parameters dynamically to stay within the range, without user intervention.
Not my cup of tea because the choice is between spending hours on it vs spending less than a minute figuring this all out 🤷
#MusicProduction
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Jarkko Sakkinen
jarkko
Took me two years to pay attention this setting for filters in the Poly and FX Grid devices of #Bitwig.
I've been wondering why they just don't feel or sound right but could not have pointed my finger. So I just put this it to +12 dB. and problem fixed.
With stock devices (not necessarily with some analog emulated plugins) sound does not destroy. If you add let's 20 dB gain boost and bring it down the same amount it should be perfectly recovered (assuming that signal path is "stock-only").
#MusicProduction
I've been wondering why they just don't feel or sound right but could not have pointed my finger. So I just put this it to +12 dB. and problem fixed.
With stock devices (not necessarily with some analog emulated plugins) sound does not destroy. If you add let's 20 dB gain boost and bring it down the same amount it should be perfectly recovered (assuming that signal path is "stock-only").
#MusicProduction
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Jarkko Sakkinen
jarkko
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Jarkko Sakkinen
jarkko
@gromit @adamw
Sorry I was too busy having a weekend but here's a screen cast that proves that -fno-lto addresses the issue :-)
I definitely going to check also later on https://gitlab.archlinux.org/archlinux/packaging/packages/isync/-/issues/1 but at sight I don't really believe this is the same issue, it fails elsewhere. Obviously this can be considered most as guess because I don't know how the internals of mbsync interact with each other.
Sorry I was too busy having a weekend but here's a screen cast that proves that -fno-lto addresses the issue :-)
I definitely going to check also later on https://gitlab.archlinux.org/archlinux/packaging/packages/isync/-/issues/1 but at sight I don't really believe this is the same issue, it fails elsewhere. Obviously this can be considered most as guess because I don't know how the internals of mbsync interact with each other.
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