Which REs deserve to get more attention in your opinion?
I can't find a Selig B3 refill anywhere in the shop, do you have a link? Is it discontinued?
http://www.seligaudio.com/products.html
There you go man
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- diminished
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Last edited by diminished on 10 Feb 2019, edited 1 time in total.
Most recent track: resentment (synthwave) || Others: on my YouTube channel •ᴗ•
- diminished
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Edit: it's in that bar on the right at the bottom
Most recent track: resentment (synthwave) || Others: on my YouTube channel •ᴗ•
?
🗲 2ॐ ᛉ
- diminished
- Competition Winner
- Posts: 1880
- Joined: 15 Dec 2018
Most recent track: resentment (synthwave) || Others: on my YouTube channel •ᴗ•
- diminished
- Competition Winner
- Posts: 1880
- Joined: 15 Dec 2018
I believe so! I've got Revival and Rotor though, that's enough for my deep purplish needs once every decade, my sweet child in time
Most recent track: resentment (synthwave) || Others: on my YouTube channel •ᴗ•
finally got Rotor with R11, and I’m way more impressed with it than I expected to be. sounds nice. real nice.
gotta throw in with Khz Gain too—I use it everywhere. last device on a track so I can automate it instead of using the track fader. don’t need any more bells and whistles than a single knob.
ART—I know it’s sort of ubiquitous and probably does get a fair bit of use by many of us, but it’s really quite awesome in its simplicity. I really like trying this as a first step instead of just throwing on an EQ for something that sounds good, but just isn’t poking through the mix quite the way I want. toss it on the track, pick a style (usually just tape or VHS, for me), dial in the input gain if you want to push it a bit more, and move the transform knob around a bit—usually you can find a setting that helps the right frequencies pop out a little more. I’ll usually end up adding an EQ anyway, but ART gets me most of the way there, first, so I don’t have to think too much about it. and then there’s all the crazy stuff you can get out of it...
gotta throw in with Khz Gain too—I use it everywhere. last device on a track so I can automate it instead of using the track fader. don’t need any more bells and whistles than a single knob.
ART—I know it’s sort of ubiquitous and probably does get a fair bit of use by many of us, but it’s really quite awesome in its simplicity. I really like trying this as a first step instead of just throwing on an EQ for something that sounds good, but just isn’t poking through the mix quite the way I want. toss it on the track, pick a style (usually just tape or VHS, for me), dial in the input gain if you want to push it a bit more, and move the transform knob around a bit—usually you can find a setting that helps the right frequencies pop out a little more. I’ll usually end up adding an EQ anyway, but ART gets me most of the way there, first, so I don’t have to think too much about it. and then there’s all the crazy stuff you can get out of it...
oh, and the Soundiron stuff. Humana, Pangea, and Klang. all excellent sounds, and super versatile. nothing beats the music box sounds in Klang, for interesting sparkly bits.
Sounds good - too good - no rotary I've ever used has that sound (too much top end).m.arthur wrote: ↑10 Feb 2019propellerhead's own ROTOR RE is, no joke, the best sounding and easiest to use rotary speaker emulation I've used, and I've tried all kinds of VSTs of this type of effect. I tend to be very disappointed by them. Not ROTOR though, I can get creamy smooth vibe-filled rotary sounds just dropping it in. And, -crucially-, the distortion / overdrive sounds really great and is very 'playable', so to speak.
Again, it DOES sound great, just not much at all like a real rotary speaker IMO, and I've used quite a few over the years (still one of my favorite speakers to run various audio signals through). Kind of like using a guitar amp sim without a speaker sim…just too bright!
Like a guitar amp, a rotary speaker doesn't really have much energy above 4-5 kHz - it's a pretty steep drop off. I even mentioned this to the Props during testing of Rotary, and they made a minor adjustment - an option for a better speaker emulation would have been nice.
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- Boombastix
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The RE is fine for a polished pop "rotor" sound but if you want a VST that sounds like a real wooden box then try IK Multimedia, very authentic and several models built in.selig wrote: ↑08 Jun 2020Sounds good - too good - no rotary I've ever used has that sound (too much top end).m.arthur wrote: ↑10 Feb 2019propellerhead's own ROTOR RE is, no joke, the best sounding and easiest to use rotary speaker emulation I've used, and I've tried all kinds of VSTs of this type of effect. I tend to be very disappointed by them. Not ROTOR though, I can get creamy smooth vibe-filled rotary sounds just dropping it in. And, -crucially-, the distortion / overdrive sounds really great and is very 'playable', so to speak.
Again, it DOES sound great, just not much at all like a real rotary speaker IMO, and I've used quite a few over the years (still one of my favorite speakers to run various audio signals through). Kind of like using a guitar amp sim without a speaker sim…just too bright!
Like a guitar amp, a rotary speaker doesn't really have much energy above 4-5 kHz - it's a pretty steep drop off. I even mentioned this to the Props during testing of Rotary, and they made a minor adjustment - an option for a better speaker emulation would have been nice.
10% off at Waves with link: https://www.waves.com/r/6gh2b0
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- MannequinRaces
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Distillery. If you want to glitch and stutter easily this is the one for you.
- Jackjackdaw
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I swear by the Kuassa EVE eq's. They make everything sound better. I bought the bundle but use the simplest 3 band the most. You could complain about the stepped frequency bands but my ears are not complaining.
I love those things. I use the 4-band most often, and honestly, I love the stepped frequencies—it keeps me from overthinking things too much. I don’t have the Pultec emulation, but only because I already have a Native Instruments emulation—but I’ve been wanting to get the Kuassa one anyway just to complete the set.Jackjackdaw wrote: ↑09 Jun 2020I swear by the Kuassa EVE eq's. They make everything sound better. I bought the bundle but use the simplest 3 band the most. You could complain about the stepped frequency bands but my ears are not complaining.
If a design can survive for almost 70 years, it's probably a good design! I don't believe there are any other 70 year old audio designs as popular and useful today as any point in the past.Jackjackdaw wrote: ↑09 Jun 2020I swear by the Kuassa EVE eq's. They make everything sound better. I bought the bundle but use the simplest 3 band the most. You could complain about the stepped frequency bands but my ears are not complaining.
As for the stepped frequencies, when the boost/cut is so wide you don't need as fine a frequency resolution.
The first time I realized how powerful these EQs were was when I first visited Power Station (Avatar) studios in NYC in 1984 - they had commissioned 24 Pultecs for each of their three rooms, one Pultec for every tape track. They had 72 Pultecs total in the studio, and while the company had stopped producing this model they were more than happy to re-tool for an order of 72!
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maybe the hardware ones they sell now aren’t quite the same, but...that’s just shy of $290,000 worth of Pultec EQs if they were to be bought today.selig wrote: ↑09 Jun 2020If a design can survive for almost 70 years, it's probably a good design! I don't believe there are any other 70 year old audio designs as popular and useful today as any point in the past.Jackjackdaw wrote: ↑09 Jun 2020I swear by the Kuassa EVE eq's. They make everything sound better. I bought the bundle but use the simplest 3 band the most. You could complain about the stepped frequency bands but my ears are not complaining.
As for the stepped frequencies, when the boost/cut is so wide you don't need as fine a frequency resolution.
The first time I realized how powerful these EQs were was when I first visited Power Station (Avatar) studios in NYC in 1984 - they had commissioned 24 Pultecs for each of their three rooms, one Pultec for every tape track. They had 72 Pultecs total in the studio, and while the company had stopped producing this model they were more than happy to re-tool for an order of 72!
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