As I mentioned a while back, long-time plugin developer Voxengo have undertaken an overhaul of their product line. Starting with the somewhat baffling, gorgeous sounding totally free OvertoneGQE, they followed up with the VariSaturator and the Voxengo Crunchessor.

Since I was in the market for a new compressor, I took advantage of a new release special offer (now unfortunately passed) and got in on this last one. If you’re familiar with Voxengo you know that he never stops working on his product, and we’ve already been treated to a couple of bugfixes. You’ll also know, even without a discount they’re well reasonably priced.

So, I’ve had a while to use it and I’m relying more and more on it. I’m not one of these gearslutz who can discern between a Fairchild and Pultec¹ but this thing works great. It can be as transparent or characterful as you’d like. Though I don’t think anyone would have argued that Voxengo haven’t always produced top-o-the-line DSP.

What’s most impressing me about the new Voxengo plugins is how vastly better looking they are. As much as I relied on them in my productions - Voxformer and GlissEQ are particular favorites - they were functional looking at best. Well, while they were overhauling their development platform, someone over there also spent some serious time thinking about the GUI. Not only are they smartly configured to respond to your interaction, and softened with a nice “Web 2.0″ sheen, if you don’t like the color scheme you tweak it to your liking.

So, not as singularly unique and characteristic as the Audio Damage GUIs, or with the gear porn gee-whiz photo-realism of, say, the new offerings of Waves. But nevertheless, a real feather in the cap of one of the best deals in DSP.

^{1Yes, that’s a joke. Though feel free to point out how wrong I got that.}

_{Awesome yearbook photo uploaded by Kristin Smith (her mother), via stock.xchng.}

I don’t know, did this one sort of fly under the radar? I haven’t seen a lot of mention of it.

A name familiar to the budget conscious sound processor over here on Windows, Voxengo have released their first cross-platform plug Overtone GEQ. Not only do you get the benefits of Voxengo mastermind Aleksey Vaneev’s deep, deep knowledge of DSP, you get it for free.

But make no mistake, this is no bog standard bit of EQ code. No, this thing is deep. I won’t try to sum up the what and how, but it does impart a whole lot of audio voodoo to your tracks. It has/needs a lot of power and is not a per-channel EQ per-se, but throw it on a bus and listen to the magic. No, really, it’s a great sounding EQ. It’s not really meant to be surgical though I’m sure if you take your time or know what you’re doing you can use it thusly.

The GUI is a vast improvement over their old Windows-only plugs. It’s really well thought-out and clean for something so potentially complicated, and the on-screen hints are integrated nicely. I do wonder if this means he’s going to start porting his Windows plugs over; I imagine it is a promo for something yet-to-come. I use quite a few of his current plugins and I have every confidence that they are every bit the equal of plugins that cost twice to coin.

Okay, I’ll indulge in a little NAMM-related chatter, albeit of a particularly geeky nature. I speak of Steinberg’s announcement of the VST3 spec for plugin developers. Hey, upgrade, you think. And just look at all those cool new features.

Well, read this thread. Seems a lot of developers are less than thrilled about having to completely redevelop their software for something that doesn’t bring them any real advantage. In fact, I think it’s safe to say, that Steinberg’s behavior towards independent developers over time has been shoddy if not outright hostile.

The question remains, will anyone outside of Steinberg sign up. Chris Randall thinks that Ableton is major factor in whether it gets accepted, and that makes sense to me, as they are the other cross-platform host with any significant user-base/market-share. If they do, it will be interesting to see who could withstand the storm. Though I do wonder if Ableton has any vested interest in switching over. And Cakewalk by Roland? Who knows now, ’cause let’s be honest, it would seem wither goes Roland so goes Cakewalk. But I can’t imagine their coders are thrilled about having to accommodate a completely different layer of abstraction between the host and the plugins.

I’ll take it from observation and the knowledge of people who, you know, actually code (when they’re able to dumb it down enough for me grasp) that this is potentially a huge pain in the ass to everyone but Steinberg and, more or less, their users. And that can’t be a good thing. Especially for us who are more interested in the fringe of software. From my POV it does seem Stein-aha is preparing to lock up the standard in their favor. But, really, I don’t know shit. However, how many more VST2.4 Steinberg commercial plugins do you think we’ll see?

Honestly, I wasn’t even aware of the VST3 spec until it was announced, other than some vague rumblings around the interwebs. (Are we saying that seriously or ironically these days? It’s hard to tell.) And I’m huge geeky trainspotter. But I’ve long since advocated the advantage of getting DSP & instrument plugins out from under the shadow of one company, no matter how you find their business practices. An open standard that had *wide host support* could mean better code and less time spend downloading updates and figuring out why X combination of host/plug cause things to crash. A fresh API written to be as agnostic as necessary would give developers a realistic target to hit.

But *wide host support* is no small hurdle. I suppose Randall’s vow to dance naked on the ‘Tube is his way of saying “never.” The optimist in me likes to see shit like this happen. The realist knows that everyone wants to be the one to establish the standard, to be “right” - to hold the keys that everyone else has to “borrow.” The populist in me wants to see an sandbox where everyone gets to play and we reap the rewards. Again, the realist knows everyone wants to be, well, king of the sandbox.

It seems to me that for the idea to get any traction, someone/group need to get pretty motivated and act pretty selflessly. And, quite possibly, need a charismatic leader. In theory, couldn’t someone or a small group of coders whip together a really rough API that roughly conforms to VST2.4 and release it under an appropriate license? Then everyone else can have at it? Get one or two adventurous hosts (eXT, whatever that new tracker that was just upgraded for multiple platforms) to include the API. Can an AU/VST wrapper be released as open source? Because that might be pretty necessary for the short term: a good AU and VST2.4 wrapper that would be open to developers to use directly. So, on top of that, developers need to be sold on that API which means a good SDK sooner rather than later - and an SDK that can easily port over to existing standards, right?

Anyway, blah, blah. Point being, yeah, that’s a hell of a lot of ifs, ands, and buts. The realist in me says, it’s a cool idea but it’s never going to happen. The populist still likes to dream.

Could VST3 be the final straw in a long line of relative indignities inflicted upon developers over the years? If the reaction and apparent outcome of that thread are an indication, then quite possibly. But a lot of stars have to line up or someone is going to come up with a really fresh idea.

This just landed in my inbox:

Right in time for the holiday season, u-he proudly announces the release of More Feedback Machine V2.0:

http://www.u-he.com/mfm/

And because it’s the appropriate time, the pre-order offer of 59$ will remain valid for another week from now! - Don’t miss out on it and check out the new features and factory patches!

So it’s going up to a reasonable $79, but hey, 20 bucks is 20 bucks. And while at the moment this is way more DSP than I need, I will happily endorse any U-he creation whether I buy it or not.

And the thing is obviously a beast:
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Here’s a new product, and one I don’t have a license for, but it is definitely moving to the top of my software want-list, the FabFilter Pro-C.

While I’m trying to stay clear of demos, and pare my software down to my essentials, I’ve been looking for a high-quality compressor, versatile and free of overkill copy protection. But I have also been having a hard time justifying purchasing a tool when I already more or less have this ground covered. I have a collection of compressor plugins that have a good reputation: digitalfishphones, Cakewalk Sonitus:Compressor & VintageChannel64, the db-audioware mixing plugins, Jeroen Breebaart’s plugs. Nevertheless, I find myself reading about some of these top-tier compressor plugins and wondering what I am missing.

A couple of things to note: Since I’ve never spent any significant time in hardware-centric studios, I’m not a hugely experienced compressor user. Nor do I have golden ears. So a lot of the subtle nuances between brands are frankly lost on me. I’m trying to educate myself, and I’m trying hear what I’m doing with a compressor rather than just dialing in what I think it should be set to. But as you can see my frame of reference is limited.

I read the glowing review of the Pro-C in the current/last issue of Computer Music and was curious - not sold, mind you, as CM can be, god love ‘em, a little enthusiastic. It’s got all the bells and whistles, and a lot of cool tricks most standard compressors don’t have, and according to them it sounds great. So, I thought I’d give it a whirl.

And, my god, is this thing slick. First of all, the GUI is really, really well done. On-screen contextual help, really cool visual feedback, and a clean, ergonomic interface. It’s modern and easy to read without being so, erm, creative it’s useless. And it sounds, at least to my tin ears, just amazing. Throw it on your two-bus in Mid/Side compression mode - nice.

And, indeed, there’s a holiday sale currently on, so, yes the getting is good: 35% off for a whopping $159. So, I’m hoping I’ll get a little financial leeway before the end of the month and I’ll be able to add this to my “rack.”

Here’s a deal for you breakbeat junkies:

Dusted William Super Funky Ass Drums - an impressive collection of 24bit REX2/wav loops for download for the introductory price of $10. Act fast, as I have no idea when this price ends; I think soon.

I’ve only just begun exploring the collection but I will attest to its quality. Just great sounding beats that have a lot of character but are dry and free of the over-processing that plague these kinds of collections.

This is not a “construction kit” per se, whereby you can mix and match different loops into a sequence which, at least remotely, plays like a continuous drum track. No, these are Breakbeats. But once you really start chopping up beats - snare pattern from this, kick pattern from that - or want to bung it through the DSP of your choice, you appreciate the usefulness of cleanly recorded but vintage sounding breaks. None of that, “Hey, let’s run the loop through a completely over-cranked filter and call it unique content!” Or “Well, let’s make it sound like it was ripped from vinyl by squashing the hell out of it and adding in noise.” No, when I’m buying breaks I want the groove, a great player playing a great sounding kit, recorded well. Making it sound completely over-processed I can handle myself.

That the collection contains both the REX2 & wave files makes this doubly useful. Lately, I’ve come to appreciate the versatility of REX files, though I still can’t bring myself to shell out for ReCycle. So I’m always happy not to be locked into one or the other format.

So, get in while the getting is good. This is a bargain at twice the price.

The high-end DSP plugin company Waves have been, yes, making waves (groan… I know, it’s too easy) with their newest efforts to crack down on those using cracks (someone stop me!), banpiracy.com. I won’t rehash it all when Peter Kirn over at createdigitalmusic.com has been doing a far better job than I could. But a couple of things to note: a.) as far as anyone can tell banpiracy.com is simply a front for Waves and no other developer/company is copping to being part of this “initiative” - i.e. visiting pro studios under one pretense and checking to see if they’re licenses are up-to-date, then suing them if they’re not. 2.) Waves have a long history of actively and aggressively protecting their wares (…I’ll stop, really, I will…) with OS-hooks, dongles, on-line licenses - the works, all at once. Thirdly, even in the high-end audio software market Waves charge a lot of money. And finally, piracy is a problem, even among pro and semi-pro studios. Don’t even argue otherwise. Anecdotal stories demoing cracks and/or later buying cracked software do not a solid case make. I personally had a very busy, albeit ghetto, urban studio brag to me about how much/many stolen software and sample libraries they had, and if I ever wanted they could hook me up.¹

My views on the quality of Waves actual software are as immaterial as they are uninformed. I’m sure they do what they promise and indeed sprinkle Magic Pixie Dust^TM all over your tracks. I’m sure they make tracks warm, and fat, and, erm, whatever other audio buzz-word you want to use here. They sure do make them louder. I, however, would not know. Well, other than what I’ve read from others who know a lot more about this than I, and it’s hard to argue with a list of users that reads like a (very geeky) who’s who of audio production. As much as it’s a money thing, it’s the whole copy protection issue. Additionally, as pretty and impressive as the Waves plugs may seem, if I was going to drop that kind of coin, there are a lot of other options.

So, let’s look at that proposition.
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The final top 3:

1. Elements of Nature
2. hypercyclic
3. The Element of Surprise

In 2006, 3 of the 4 I singled out were the top 3 placers.

This year, I’m batting 3 out of 3!¹

A keen eye for quality and innovation? An influential opinion among the members of KvR? Or am I merely some sort of idiot savant?

I suspect it has something it has something to do with this², but there’s no way to back that argument up without sounding like a complete jackass.

But, obviously, I believe three very worthy digital contraptions were awarded their due. Not the order I would have put them in, but why quibble?

Anyway, some morning-after notes:
Because of my recent adventures in system maintance none of my initial downloads got beyond a 2nd chance. So, yes, I may have overlooked some gems, but apparently I was pretty damn close.

It’s interesting that a SynthEdit plug took the top spot. And the 3rd spot. I would have thought that the cross-platform plugin would have drawn in votes the SE plugs couldn’t get. Then again, hypercyclic’s genius isn’t quickly apparent: it’s a MIDI tool, a smart and unusual MIDI tool and one that benefits from strong host MIDI-routing, but not as gee-wiz apparent as a snyth or DSP.

About the SynthEdit plugs. It’s great that this development environment is out there and lets some real artists do some fine work. We now have access to all sorts of plugins that commercial developers wouldn’t come up with on their own. But its bugs are becoming more and more limiting, for both the developers and the users. Even if te SE developer releases a new version which fixes the dual-core bugs that apparently plague it (I haven’t had my dual-core long enough to encounter this myself) and the “all notes off” bug, that leaves a lot of plugins out there that were created on the old version that need to be recompiled. Nevertheless, this is a real victory for the necessity of VST development platform that is available to the enthusiast as well as the more serious coder.

As rekkerd says “…it is a well deserved win. xoxos has released tons of cool freeware plug-ins over the last few years, more than doing his part in the community.” It’s a cool idea, thoroughly executed, though it’s actual long-term usefulness is still a question. Kudos to Ugo for his exploration of simplicity in the creative process. And cheers to the hypercylic devs for giving me a tool I look forward to exploiting more fully.

^{1Look below the list, in the notes, at the bold text; the bold formatting was inserted at the time of writing.}

^{2The link is to a google lecture on the paradox of choice. Watch it while thinking about your workflow, your plugin folder, all the things about you current setup that you think could be better. Really, it’s enlightening.}

Loudness wars aside.

This morning I decided I’m no longer going to refer to my final stage before burning to CD or ripping to MP3 as “Mastering.” Cause really, what I’m doing probably in no way resembles mastering. It’s “Finalizing.” Yeah, that makes sense.

Someday, I look forward to actually getting a finished CD mastered by someone who knows what they’re doing, has a good acoustic space, and won’t squash the crap out of it.

Until that time I do it myself. (Right now I’m looking forward to finishing a CD.)

For a long time I’d brought my bounced 2-bus mix into SoundForge and worked from there. I’ve always mixed low so I always have a fair degree of headroom in which to work. Using the plugin chainer I would run the wave through Vintage Warmer+GlissEQ+dbMasteringLimiter - though I’d switched to iZotope Ozone mastering limiter included with version 9.

But with the new version of Sonar, I’ve set up a much more flexible finalizing template. I can having two tracks of different mixes running through 2 busses that I can mix and match, so I can play with different DSP chains. To be honest, I pretty much run it through the same sequence; though I’m using the new Boost10 included in Sonar which is a really great plugin. Plus Sonar has great dithering options. And with my new Sonar-template setup I can run all kinds of eye-candy and tools - VintageMeter, analyzers, and now this.

Ozone has an option for killing intersample overs, but as quickly as I gained that knowledge I it became unavailable to me as it’s tied to SoundForge. So this will slot in nicely to my new finalizing template. So, yea! for SSL for this nice freebie. And some day I’ll have the resource to get one of these.

Cheers to AI for the heads up.

Okay!

Further my earlier post concerning this year’s Developer Challenge.

While I haven’t come to any truly informed decisions, here’s what I downloaded:

• Alien Artifact
• Blip
• Bouncer
• Flicker
• hypercyclic
• Najnaj
• Rasta Box
• Rhythmic Tangent
• Shaker Maker
• Sounds of Nature
• Speak & Pluck
• The Element of Surprise
• Tiny-Q
• ?

Like I said in my initial post this time ’round, it’s a very Book-by-its-Cover year. So apparently I passed over a lot of the synths and a lot of GUIs that just aren’t to my liking. No offense to any dev who I might have overlooked through my aesthetic prejudiced - let me know if I completely missed the boat on your offering.

A couple of off-the-cuff notes:

- I was most looking forward to hypercyclic & The Element of Surprise. Both have proved to be worthy of my anticipation.

- I especially like the conceptual approach of Sounds of Nature & Element of Surprise. (Coincidence?)

- Again with tEoS: Really, read the manual. Even if you don’t grock with the sound, it’s a good piece of writing and a helpful approach to actually getting music done.

- Sometimes concept and results part ways. A few of those that I’ve tried have proved this sadly true.

- Since I’ve purge my VST folders and cleaned up my audio drive, I’m testing everything out of eXT2 rather than Sonar or P5.

- Except hypercyclic which I’m using in Sonar because of its internal MIDI-routing.

- The “?” isn’t the name of a plugin (someone snap that up for next year!) but means I might have downloaded one or two others but either they didn’t install correctly or I they got lost in the purge. The list reflects my notes so far.

And a special call out to one of my readers with a Mac: Have you tried the mac plugins? Do they work? Are they useful?