vsti like Ensoniq Fizmo ?

[Vectorman]

Am I missing anything? Am I oversimplifying things?

I don't imagine so, really. It has its own slightly different spin on wavetable scanning, a fairly unremarkable early digital filter, and a really good mutli-effects processor. Sure, its Transwaves have a particular sound, owing to the spectral content of the waveforms Ensoniq chose to put into them and Ensoniq's particular scheme for shifting between them (same can be said of a PPG or a Virus TI or whatever). I expect much of the remainder of the Fizmo's character probably comes from the sound of its effects.

I guess it really comes down to whether you're so taken by that particular shade of green (or blue or purple or whatever) that you want to pay top dollar to add it to your palette. It sounds nice to me in some of the demos, but not necessarily nicer than any of a number of wavetable sweeping sounds I've gotten out of other wavetable scanning synths like Zebra. At current Fizmo prices, and with all the other things one can use now to create shifting wave sweeps, it wouldn't be high on my gear buying priority list.

[Dasheesh]

Anybody throw out purple yet?

http://www.youtube.com/watch?v=MuiUM2gQdfg

[cornutt]

The Fizmo filters actually had a bunch of different modes, with different numbers of poles and some combination response curves. You can't get to them from the front panel, but a lot of the factory patches used them.

[zerocrossing]

Anybody throw out purple yet?

No. Probably because it's a four operator FM synth and not a wavetable synth at all. Right color though.

[zerocrossing]

The Fizmo filters actually had a bunch of different modes, with different numbers of poles and some combination response curves. You can't get to them from the front panel, but a lot of the factory patches used them.

Yeah, and that is yet another reason why I like using software for complex synths more than hardware. When it comes to basic 2-3 osc subtractive analog, a good hardware synth rules. But I remember hating programming my Wavestation to the point where I really didn't do that much with it. Yet, when I sold it and bought the original KLC, I instantly fell in love with it all over again, and it doesn't even have the best UI compared to all the synths we're talking about.

[codec_spurt]

One might instead use a granular synth to achieve the kind of "wave scanning" we're after. No?

Nope!

The transwaves are actually very basic things architecturally, and that is their strength as well as their weakness. Not really much weakness though. They are what they are.

There is not any VST that does this, nor does it look like any VST ever will. Buy a used Fizmo, after checking it works. Sample it to heaven and back. Enjoy. Move on.


I've gone into this quite deep and it is just not possible. My SD-1 was a generation or two before the Fizmo. It can not be emulated in any way by anything. You need to set up complex chains and even then it defeats the whole point coz it takes ages where as the original SD-1 takes seconds. Less than that! The SQ8L is the closest any one has come. Couple that with some nice FX chains and then again, well, maybe...

The Fizmo had a very discrete set of components that provided a certain kind of synergy. Without everything in exactly the same place, it is always going to be close but no Fizmo!

I'd love to be proved wrong.

I'd love a TS-10. My SD-1 is on loan and it took me a long time to track down and find one in practically mint condition. I still owe the money for it too. But I have hundreds of songs recorded on its sequencer. All on floppy disk which mostly work.

I would say, if you want a Fizmo and can't get one - get a TS-10, if you can't get a TS-10, then buy an SD-1 or VFX - it sounds as if you are going as much for the sound as the sequencer.

I'm sorry if I got it wrong and you are a connoisseur.

How many people have compared the SD-1 and TS-10 and Fizmo together? I haven't. But I would listen intently to someone who had.

This shit is worth the hassle coz you can't get that sound any other way. Nothing to do with analog/digital bollox. It is just a very well built up synergy, like I said. It's on tap at the flick of a switch. Hardware is still good for some things.

I do not buy this. I can't for the life of me imagine that Ensoniq had some magic that couldn't be emulated quite well in a VSTi. Sure, we can nit pick about "Well part of the sound was the DACs" but I'm not interested in that level of accuracy either. From everything I've seen, the Fizmo isn't some magic advanced instrument we'll never see again, but a clever take on wavetables with a healthy amount of power to get 8 oscs running together and a kick ass effect section. Hell, that actually sounds like more than I really would need. Give me a two osc set up with two layers and I'll be satisfied. I actually think we could do better with the advances we've made in in software filters. ...and by "we" I mean, smarter people than me. I guess "close but no Fizmo" is enough for me.

Oh, it's entirely doable, I have no doubt about that. Look at the Wavestation and also SQ8L. Korg had all the information to hand and the will to create a true emulation. They had the resources also. They pretty much ended the argument that hardware couldn't be emulated in software (but let's not go there). Anything is possible today.

As for the SQ8L Sigi had help from Rainer Buchty with the internals of the chip, it was a real labour of love and after a lot of work, one of the best emulations ever created was born, and given away for free (well donationware).

Imagine all those years ago if you had said to someone who was a keyboard player and had just sold their car to buy a Wavestation - someone that knew nothing about computers, as most people didn't back at that time, "one day your keyboard and the M1 and the DX7 will all be able to fit inside one of them there computery thingies, and will sound exactly the same", he would have been most offended and probably called you 'mental' to boot.

It's not such a stretch to think that if someone who had access to the internals and the diagrams with the resources and the will to recreate it, that it could be done. Of course it could. Which leads on to your second point...

I think the real reason we're not seeing a true Fizmo emulation is because of two facts. First, lack of real interest. Aside from a few geeks like us, there really aren't enough people to really make a Fizmo emulation commercially viable or Creative Labs would be licensing their tech out to a third party developer. Second, there are some kick ass wavetable based synths out there that in some ways exceed the Fizmo. Have you tried Diversion? Fantastic synth. If only it did multicycle waveforms for it's wavetables...

I agree, nail on head. No real interest from the punters (apart from a few) and certainly no real interest from the manufacturers (or rather software vendors). What Korg did was miraculous and proof of concept. Miraculous, not in the technical sense (though it was quite a feat), but in the sense that a manufacturer was prepared to go all out and do something that they really didn't have to do, for whatever reason, which is probably still only beknownst to them. They could have just settled for selling new keyboards at top dollar. I guess they didn't view the VST as a threat. I'm sure they had their reasons though.

And as for Creative Labs. Don't! They seriously lost the plot. What a waste them buying out Emu and Ensoniq. It could have been the dawn of a new golden age with the resources they had at their disposal, but it seemed more like Microsoft's motto of embrace, extend, exstinguish. Then again, I'm sure they had their reasons and maybe it all went according to their plan. I don't see what threat those two companies could have possibly posed to them, however, and it does just seem like they dropped the ball. In a big way.

I haven't tried Diversion, but I mean to at some point. It looks nice!

I had a TS-10. Nice synth for sure, though it's filter was lackluster. While it was my only synth for years, I can't see me dedicating the space in my studio just to have "that" sound. I also decided to do a "studio lockdown" recently because I was spending too much time thinking about what gear I should own and it was killing my creative process. So, they'll be no TS-10 or Fizmo in my future.

Well, my Ensoniq doesn't have a resonant filter as such (as the original Wavestation didn't), but I don't miss it coz I can get the same effect with the 24-bit ESP chip. That kind of does resonance and cutoff in its way. Anyway, I see the SD-1 as more of a keyboard type keyboard and not some mad techno box (though it can do that). It's hard to explain. I have 4000 patches for it on disk, plus probably a thousand of my own and that others have made up who I've made music with. It doesn't matter what bank you load (it only can load 64 at one time [apart from ROM]) and it doesn't matter how bad or lacklustre they sound - you will always find a patch that just fits and sits in the mix, if not downright owning it and taking it over. It's weird and I don't have any explanation for it. I genuinely don't understand why this is. I can load an Albino or a Blue and go through 200 patches and not one of them sounds right. It's strange.

Plus the Ensoniq has a beatiful Fatar keyboard that I am very used to. I don't like programming drums on a keyboard, but the spring is just right with it and I even enjoy it.

They are only sounds at the end of the day. Nothing to get hung up about. I have hundreds of tracks programmed into the 24-Track sequencer on the SD-1 and that is my attachment really.

It's a shame that no one will marry that Transwave technology with the 24-bit ESP FX. That is just a killer combination. Synergy and magic ensue...

[WilliamK]

I haven't read the whole thing, yet, so I apologize if I'm saying something that was said before. I also had the TS-10, actually in two periods, two machines, and loved it. When I first created Wusik Station V1, I based the engine on the TS-10 / ASR / EPS engine, mostly on the TS-10 engine. It could do Wave Sequencing - aka Hyper Waves - and Loop Modulation - aka Transwaves.

Transwaves is just a fancy name for something VERY simple. You take a large waveform, that has a single cycle loop (or even larger) and just modulate this loop in a particular way, nothing else. We added it to Wusik Station and will be adding to Wusik 8000 pretty soon.

[codec_spurt]

I haven't read the whole thing, yet, so I apologize if I'm saying something that was said before. I also had the TS-10, actually in two periods, two machines, and loved it. When I first created Wusik Station V1, I based the engine on the TS-10 / ASR / EPS engine, mostly on the TS-10 engine. It could do Wave Sequencing - aka Hyper Waves - and Loop Modulation - aka Transwaves.

Transwaves is just a fancy name for something VERY simple. You take a large waveform, that has a single cycle loop (or even larger) and just modulate this loop in a particular way, nothing else. We added it to Wusik Station and will be adding to Wusik 8000 pretty soon.

That's interesting to know. I messed about with making up my own Wave Sequences, but it was time consuming and I was impatient. So much better for someone else to do it for you (and often better than you).

If you listen to the actual raw Transwaves with no FX at all and just step through them slowly, there is nothing remarkable about them at all, in fact, they seem pretty random in parts, which I suppose is part of their charm.

But they are limited at the end of the day no matter how many different ways you get to transverse along the loop. I don't believe you can do random jumps and skips or do anything but go back and for in a linear fashion. That makes them have a somewhat short shelf life, because the better loops that people pick up on become a bit like Digital Native Dance from the D-50, and it is only because they are not so well known that they have not reached into cliche yet.

What you need to do WilliamK is build a super duper 24-bit Multi-FX with a world class reverb and chorus and delay and distortion and modulation and...

I think I'm right in believing that the ESP chips on these keyboards were the precursors to and the same as the DP-4 FX unit. Makes sense. That reverb is something else, just for starters, and the fact that you could assign two FX to any one sound made it more powerful. Plus you didn't have a load of options that did practically nothing. There are about ten or so parameters (more or less depending on algorithm) that ALL do something drastic to the sound.

I have never heard a Multi-FX unit in VST form as good as that. I know this has been done to death in threads and people say you can do it, and that may be so, but the speed with which you could apply things and the overall integration is what makes the difference.

I guess though, if you put VVV on a send for reverb and RP-Delay on a send for delay, and put CamelPhat on an insert, then you probably would get quite close if you used something like Wusikstation as the 'engine'.

But who needs Transwaves when you have Westgate Sounds patches for your machine. Each one is like a new Transwave in its own right, evolving and moving through the sonic landscape, anew and afresh.

It was pretty clever what Ensoniq did with the technology, but it was still limited to a few MB iirc.

You take an evolving timbre and apply an evolving FX algorithm to it in a tightly integrated yet random form, then you can come up with some very interesting sounds.

The Wavestation is deterministic, with its output, but the Ensoniq would come out with sounds that would never be heard again, vocals even, when there are no vocal samples in it. Sometimes we would just let it play for an hour or two on a four bar loop and let the evolving FX create new music along the way.

It is the FX section that people should be looking at here, not the Transwaves, like has been said, which are quite simple and a known quantity. How many people have even heard an ESP chip or a DP-4 to judge it? They were truly exceptional machines.

[codec_spurt]

Here's an example. This is totally Ensoniq SD-1, the drums, the FX, everything. Except for the vocal samples of course.

It was even sequenced within the internal 24-Track sequencer of the Ensoniq. The FX are quite subtle. This was just a direct out from the SD-1 into a mixer in the studio with the Vox layered on top live.

Inspired by Black Dog iirc.

https://dl.dropboxusercontent.com/u/8602770/F.A.mp3

The TS-10 was an improvement on the SD-1. The Fizmo might have changed things a bit, I'm not sure. Some for the better, some for the worse. Die hard Ensoniq purists had a few criticisms of the the Fizmo iirc.

Anyway, they are all great machines.

[zerocrossing]

...they [transwaves] are limited at the end of the day no matter how many different ways you get to transverse along the loop. I don't believe you can do random jumps and skips or do anything but go back and for in a linear fashion. That makes them have a somewhat short shelf life, because the better loops that people pick up on become a bit like Digital Native Dance from the D-50, and it is only because they are not so well known that they have not reached into cliche yet.

Well, on some level yes, though to be fair most transwaves were more "elemental" than the ROM pcm that made up Digital Native Dance. Like an early box of Legos where you had a bunch of simple shapes but it took creativity to do something with them. I got my nephew a Lego set a few days ago and all he wanted to do was make what was in the instructions. It was... kind of sad. I have a box of mixed Legos that I'll give to my daughter one day and I will never let her see an instruction or a picture of what she should build.

What you need to do WilliamK is build a super duper 24-bit Multi-FX with a world class reverb and chorus and delay and distortion and modulation and...

I think I'm right in believing that the ESP chips on these keyboards were the precursors to and the same as the DP-4 FX unit. Makes sense. That reverb is something else, just for starters, and the fact that you could assign two FX to any one sound made it more powerful. Plus you didn't have a load of options that did practically nothing. There are about ten or so parameters (more or less depending on algorithm) that ALL do something drastic to the sound.

Yes, while I agree the effects on the Ensoniqs were top knotch (at least in my experience with having a TS-10 and DP-4) they're not beyond the realm of modern software, and infact, I'd say that in many ways they're bested by a handful of effects from Valhalla, Fabfilter, D16, U-He and Virsyn. Do you remember the distortion algorithms on those Ensoniq boxes? Not good. Also, the DP-4 was useless as an insert effect because of how it effected the dry signal.

I have never heard a Multi-FX unit in VST form as good as that. I know this has been done to death in threads and people say you can do it, and that may be so, but the speed with which you could apply things and the overall integration is what makes the difference.

True, most multi-fx plug ins and the effects that come with VSTis are not that great, but the good thing is there are amazing individual effects that you can stack and route yourself. Also, have you tried PSP's N2O? I think it covers all the effects of a Fizmo, is modular and highly modulatable and of very high quality.

http://www.pspaudioware.com/plugins/mul ... s/psp_n2o/

Shame U-He never got the Uhbik X plug in finished. That would have ruled.

I guess though, if you put VVV on a send for reverb and RP-Delay on a send for delay, and put CamelPhat on an insert, then you probably would get quite close if you used something like Wusikstation as the 'engine'.

Exactly, though I think you can do much better than CamelPhat today.

But who needs Transwaves when you have Westgate Sounds patches for your machine. Each one is like a new Transwave in its own right, evolving and moving through the sonic landscape, anew and afresh.

I was not aware of Westgate, but sure, this is another thing that is also useful for crazy dark pads... though I think we're getting into different territory here. Sample manipulation is another very fun and useful type of synthesis and I've thought about bringing in the Ensoniq Transwave files into Alchemy, Padshop Pro, Absynth, Granite and Poseidon to see what could be done. There is no shortage of ways to skin this cat. We live in very cool times.

It was pretty clever what Ensoniq did with the technology, but it was still limited to a few MB iirc.

You take an evolving timbre and apply an evolving FX algorithm to it in a tightly integrated yet random form, then you can come up with some very interesting sounds.

A lot of my music is based on audio loops that feed effects plug ins where various parameters are automated over long periods of time that have no direct musical time ratio to the loop length. You end up with a king of polyrhythmic effect that's compounded when you set the loop feedback to less than 100% and slowly add audio to the loop. This is something easily set up in Ableton Live if anyone is interested.

The Wavestation is deterministic, with its output, but the Ensoniq would come out with sounds that would never be heard again, vocals even, when there are no vocal samples in it. Sometimes we would just let it play for an hour or two on a four bar loop and let the evolving FX create new music along the way.

Hm, I'm not sure I agree with that. If you think about the amount of ROM waves (especially the 700 that come with the software version) that can be put into any order in a sequence of up to 255 (I think) and layered with up to 32 wavesequences at one time, plus the ability to have effects and automate their parameters... I'm not sure a regular human mind could find that deterministic, though most Wavestation patches are not that complicated.

It is the FX section that people should be looking at here, not the Transwaves, like has been said, which are quite simple and a known quantity. How many people have even heard an ESP chip or a DP-4 to judge it? They were truly exceptional machines.

They were, but I still think that you could get most of the way there with something like PSP's N2O and in a sense go further with the ability to easily do DAW automation.

[codec_spurt]

Yes, while I agree the effects on the Ensoniqs were top knotch (at least in my experience with having a TS-10 and DP-4) they're not beyond the realm of modern software, and infact, I'd say that in many ways they're bested by a handful of effects from Valhalla, Fabfilter, D16, U-He and Virsyn. Do you remember the distortion algorithms on those Ensoniq boxes? Not good. Also, the DP-4 was useless as an insert effect because of how it effected the dry signal.

I'm sure the FX you've mentioned are every bit as good. But to have them all to hand at the same time? That would be something special. I suppose you could use some kind of chaining thing and roll your own. As for the distortion? My ears still haven't recovered! Nasty is a compliment. But it did work on some things in moderation.

True, most multi-fx plug ins and the effects that come with VSTis are not that great, but the good thing is there are amazing individual effects that you can stack and route yourself. Also, have you tried PSP's N2O? I think it covers all the effects of a Fizmo, is modular and highly modulatable and of very high quality.

http://www.pspaudioware.com/plugins/mul ... s/psp_n2o/

Shame U-He never got the Uhbik X plug in finished. That would have ruled.

I played with their 608 Delay for a bit, funnily enough, just that on a send from an SQ8L. It totally transformed the instrument. Getting very close to what we are talking about. That really is an exceptional delay unit. It took the SQ8L to another level again, because it is a bit boring by today's standards without any FX. But the core of the sound is there, reminding me a lot of the later Ensoniqs. It's really not that different at heart. I'd suggest anyone that wants a taste of this for free to download that plugin and put your favourite delay/reverb on it. It doesn't take much encouragement to really make it come alive and sparkle. I might even have a play with it later and just run it quickly through some fx and see what comes out. I honestly couldn't believe what I was hearing before, it was truly incredible.

Exactly, though I think you can do much better than CamelPhat today.

I just used that as an example. It certainly is better than the original distortion algos as you have already mentioned. What would you suggest in that department? I have Kombinat and like it a lot especially as it has multi-band splitting of the frequencies. Yo can even make it sound like the old ESP algos. Oh, I have RP-Distort too, that is pretty amazing, come to think of it. So much more than a distortion plugin - read my review here:
http://www.kvraudio.com/product/rp-dist ... en/reviews

I was not aware of Westgate, but sure, this is another thing that is also useful for crazy dark pads... though I think we're getting into different territory here. Sample manipulation is another very fun and useful type of synthesis and I've thought about bringing in the Ensoniq Transwave files into Alchemy, Padshop Pro, Absynth, Granite and Poseidon to see what could be done. There is no shortage of ways to skin this cat. We live in very cool times.

Yeah, it's just another approach, but pretty much the same result. I have a massive library from dnekm, and I'm still searching through it, finding the gems that fit perfectly to the track. I just mentioned them because they have that evolving rich texture that takes a while to put together. And because they are all hand crafted they are all original. But sometimes I fire up the Wavestation and just press one finger down on the keyboard and instant film score sountrack that has probably been used a dozen times on records, but that is ok, because how many people have heard it? In context?

A lot of my music is based on audio loops that feed effects plug ins where various parameters are automated over long periods of time that have no direct musical time ratio to the loop length. You end up with a king of polyrhythmic effect that's compounded when you set the loop feedback to less than 100% and slowly add audio to the loop. This is something easily set up in Ableton Live if anyone is interested.

I'd be interested in a template of that! I've got pretty good results in that kind of department with plugins like Automaton and Replicant. Not exactly the same kind of thing, sure, but more than one way to skin 'random'.

Hm, I'm not sure I agree with that. If you think about the amount of ROM waves (especially the 700 that come with the software version) that can be put into any order in a sequence of up to 255 (I think) and layered with up to 32 wavesequences at one time, plus the ability to have effects and automate their parameters... I'm not sure a regular human mind could find that deterministic, though most Wavestation patches are not that complicated.

Maybe you're right. I was thinking more along the lines of how weird the fx can get when they run away with feedback, but then again, maybe it is possible to do that with the Wavestation. The fx always seemed more workhorse and standard compared to the Ensoniq. I don't know it that well to be honest.

It is the FX section that people should be looking at here, not the Transwaves, like has been said, which are quite simple and a known quantity. How many people have even heard an ESP chip or a DP-4 to judge it? They were truly exceptional machines.

They were, but I still think that you could get most of the way there with something like PSP's N2O and in a sense go further with the ability to easily do DAW automation.

I really must check that out. Come to think of it, you aren't the first person to mention it. I'm overloaded with plugins, but I would make an exception for any half way decent multi-fx unit. I don't mind making up templates and chains, in fact I go mad doing that. I've got nearly as many templates as songs - it's insane. But that is the essence of what we are talking about here - having things in one convenient and easy to control place.

Something needs to happen in VST land. How many more analog emulations can a sane man take? I've said it before, it's about integration, good patch management, stability, usability through the interface extensible/extendable to the controllers. None of them very sexy things by themselves, but there is a crazy synergy that takes place when all those elements are together, which is what we are all lacking and trying to achieve, I believe.

[zerocrossing]

Here's an example. This is totally Ensoniq SD-1, the drums, the FX, everything. Except for the vocal samples of course.

It was even sequenced within the internal 24-Track sequencer of the Ensoniq. The FX are quite subtle. This was just a direct out from the SD-1 into a mixer in the studio with the Vox layered on top live.

Inspired by Black Dog iirc.

https://dl.dropboxusercontent.com/u/8602770/F.A.mp3

The TS-10 was an improvement on the SD-1. The Fizmo might have changed things a bit, I'm not sure. Some for the better, some for the worse. Die hard Ensoniq purists had a few criticisms of the the Fizmo iirc.

Anyway, they are all great machines.

That track is great!

[zerocrossing]

I played with their 608 Delay for a bit, funnily enough, just that on a send from an SQ8L. It totally transformed the instrument. Getting very close to what we are talking about. That really is an exceptional delay unit. It took the SQ8L to another level again, because it is a bit boring by today's standards without any FX. But the core of the sound is there, reminding me a lot of the later Ensoniqs. It's really not that different at heart. I'd suggest anyone that wants a taste of this for free to download that plugin and put your favourite delay/reverb on it. It doesn't take much encouragement to really make it come alive and sparkle. I might even have a play with it later and just run it quickly through some fx and see what comes out. I honestly couldn't believe what I was hearing before, it was truly incredible.

Oh, I totally agree. SQ8L is a gem and a half. I wish he'd do more.

Exactly, though I think you can do much better than CamelPhat today.

I just used that as an example. It certainly is better than the original distortion algos as you have already mentioned. What would you suggest in that department? I have Kombinat and like it a lot especially as it has multi-band splitting of the frequencies. Yo can even make it sound like the old ESP algos. Oh, I have RP-Distort too, that is pretty amazing, come to think of it. So much more than a distortion plugin - read my review here:
http://www.kvraudio.com/product/rp-dist ... en/reviews

Yeah, I think the best and most flexible is the PSP N2O. I've got the first version but I've yet to upgrade but the new one looks even better. For distortion I think my favorite might be Saturn, but I do also like some of the ones that come with the Silver Bundle from D16. Not multi-effects. Also, I hate it for guitars, but for a modular effects processor, Guitar Rig can be great and it has a super cool parameter sequencer.

A lot of my music is based on audio loops that feed effects plug ins where various parameters are automated over long periods of time that have no direct musical time ratio to the loop length. You end up with a king of polyrhythmic effect that's compounded when you set the loop feedback to less than 100% and slowly add audio to the loop. This is something easily set up in Ableton Live if anyone is interested.

I'd be interested in a template of that! I've got pretty good results in that kind of department with plugins like Automaton and Replicant. Not exactly the same kind of thing, sure, but more than one way to skin 'random'.

I'll post a template file, but my studio is in boxes at the moment so it might be a few weeks. Poke me if I forget.

Hm, I'm not sure I agree with that. If you think about the amount of ROM waves (especially the 700 that come with the software version) that can be put into any order in a sequence of up to 255 (I think) and layered with up to 32 wavesequences at one time, plus the ability to have effects and automate their parameters... I'm not sure a regular human mind could find that deterministic, though most Wavestation patches are not that complicated.

Maybe you're right. I was thinking more along the lines of how weird the fx can get when they run away with feedback, but then again, maybe it is possible to do that with the Wavestation. The fx always seemed more workhorse and standard compared to the Ensoniq. I don't know it that well to be honest.

Yeah, they're not as good for sure, but again, with software there's no real reason to use them.

It is the FX section that people should be looking at here, not the Transwaves, like has been said, which are quite simple and a known quantity. How many people have even heard an ESP chip or a DP-4 to judge it? They were truly exceptional machines.

They were, but I still think that you could get most of the way there with something like PSP's N2O and in a sense go further with the ability to easily do DAW automation.

I really must check that out. Come to think of it, you aren't the first person to mention it. I'm overloaded with plugins, but I would make an exception for any half way decent multi-fx unit. I don't mind making up templates and chains, in fact I go mad doing that. I've got nearly as many templates as songs - it's insane. But that is the essence of what we are talking about here - having things in one convenient and easy to control place.

Something needs to happen in VST land. How many more analog emulations can a sane man take? I've said it before, it's about integration, good patch management, stability, usability through the interface extensible/extendable to the controllers. None of them very sexy things by themselves, but there is a crazy synergy that takes place when all those elements are together, which is what we are all lacking and trying to achieve, I believe.

Yeah, I think that was what Reason is trying to be. I got a Push recently thinking it might boost that interface/software interaction to the next level, but it came at a weird time of moving and traveling so I haven't yet put it through it's paces. I also ended up getting M4L because it's the only way you can get aftertouch working correctly with Push and Live, but I can see it might offer a lot of interesting stuff that's in the vein of what you're talking about.

[codec_spurt]

I checked out the PSP Nitro thing as compared to the N20 thing. Confusing as f**k. I see now that the N20 is a modern day take and upgrade on the ages old Nitro filter.

N20 has extra reverb and delay and could really be considered as a true multi-fx unit.

They are hiding their virtues under a bushel (wtf? is that even a sentence) so to speak.

No one is going to hear this for a hundred and fifty bucks, not when no one knows about it.

Buy Camel Phat and be done with it. Remember, no one ever got fired for buying Camel Audio!

Do a promo, do something. I am not allowed to say how it has already been ahem 'redistributed' shall we say, so I won't.

I don't know anyone that is talking about this plugin or using it. It looks f**king superb. I will dl and use it, when I get my system going, but hell, PSP, why hide under a rock?

Anyway, first of all promote it, so people know about it. Then maybe offer a few out for a knock down price. Then offer it at a 'too good to refuse - no brainer deal' for a while, then when it picks up, hit them with it and sell it to them for a hundred dollars. But if you think 150 dollars is fair across the board then so be it. You could buy 3 Audio Damage plugins for that and have change for a curry.

Oh yes. Yes you could. Minimum charge!

[Acclimate]

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Finally a FIZMO vst! https://www.uvi.net/en/vintage-corner/d ... nstruments (https://www.uvi.net/en/vintage-corner/digital-synsations-vol-2.html#instruments)