KVR Audio

A.M. Gold · Post by **A.M. Gold** » Fri Jan 31, 2014 2:05 am

Not sure I agree about usually setting the tone to bright. Depends on how hard you drive the individual processors. I liked it better so far on natural. A wet/dry would be nice on this as well as a master output (I'm assuming trim is pre but maybe I'm wrong, doesn't seem to be post).

After a fairly quick test I have to say there is really something to this thing. It does seem to be bringing out more focus, particularly in the low mids, and the sound overall seems noticeably more forward. Very nice work, and thanks very much for this, Bootsie!

Edit: I take it back---trim appears to be post.

Bronto Scorpio · Post by **Bronto Scorpio** » Fri Jan 31, 2014 2:12 am

This is another fantastic plugin! I'll definitely have a use for it!
Turning it on (when set up correctly) is like switching from a flat 2D image to some kind of awesome 3D projection

Thanks again!

Cheers
Dennis

lazymarc · Post by **lazymarc** » Fri Jan 31, 2014 3:51 am

Very good
Thanks Bootsie

Mister Natural · Post by **Mister Natural** » Fri Jan 31, 2014 5:29 am

I vote : Herbert for Emperor of the VST World !

recursive one · Post by **recursive one** » Fri Jan 31, 2014 6:08 am

What exactly it is supposed to do? It is not your usual multiband compressor where the bands are associated with certain frequency ranges, and the low and high freq knobs are not the crossover cutoff points, right? Is it to be used on tracks, on busses, on master output?

A.M. Gold · Post by **A.M. Gold** » Fri Jan 31, 2014 6:16 am

I think it can be used in any situation. It's designed to create a relationship between three different compression and saturation engines that the ear perceives psychoacoustically as increasing dynamic resolution and clarity. That suggests using it on full mixes to help separate the instruments better but i tried it on a drum buss and it worked well there too. you will have to experiment with different applications in your own productions.

It's three full compressors/saturators, though, it isn't a three band comp.

recursive one · Post by **recursive one** » Fri Jan 31, 2014 7:23 am

A.M. Gold wrote:I think it can be used in any situation. It's designed to create a relationship between three different compression and saturation engines that the ear perceives psychoacoustically as increasing dynamic resolution and clarity. That suggests using it on full mixes to help separate the instruments better but i tried it on a drum buss and it worked well there too. you will have to experiment with different applications in your own productions.

It's three full compressors/saturators, though, it isn't a three band comp.

Thanks, seems like an interesting concept. I'm now reluctant to incude any more plugins into my setup, but given the Bootsie reputation this is something worth trying.

toothnclaw · Post by **toothnclaw** » Fri Jan 31, 2014 8:08 am

There's no such thing as a free lunch? Hmmm...

bootsie · Post by **bootsie** » Fri Jan 31, 2014 8:36 am

3ee wrote:OK guys, in case you are a bit confused: don't imagine P2 and P3 like a multiband setup controlling the low freqs and high freqs.

3ee wrote: (added: set the P2 and P3 controls to minimum) Drive P1 as hard as you can but still getting a good sound.
...as soon as you bring P2 into action it will share the load and sound better...
...set the P2 release in different fashion of setting a usual compressor release, this one is about overall glue...
...top it off with P3+it's release setting,
(set the tone to bright, seems like most my cases), play with low and high detail knobs and finally finetune P1, P2 and P3 if needed.

compensate level for A/B

3ee has stolen my workflow

3ee · Post by **3ee** » Fri Jan 31, 2014 8:55 am

hehe cool!

Thanks again... hope people will understand that it's a professional tool (subtle qualities) and it will get the praise it deserves!

(can easily imagine people discarding it thinking it's an unexciting thing doing almost "noting"... ow well.. )

I understand this is the 1st in a series... any ideas what could be in the future?

Mutant · Post by **Mutant** » Fri Jan 31, 2014 9:05 am

bootsie wrote: There were already lots of questions since the announcement and I expect even more and so I'll set up a FAQ based on all the discussions which will probably arise here in this thread during the next days.

Thank you very much.

timius · Post by **timius** » Fri Jan 31, 2014 9:17 am

Wonderful plugin, i don't how but it gives a certain presence to the sound.

Tp3 · Post by **Tp3** » Fri Jan 31, 2014 10:34 am

3ee wrote:
bootsie wrote:(added: set the P2 and P3 controls to minimum) Drive P1 as hard as you can but still getting a good sound.
...as soon as you bring P2 into action it will share the load and sound better...
...set the P2 release in different fashion of setting a usual compressor release, this one is about overall glue...
...top it off with P3+it's release setting,
(set the tone to bright, seems like most my cases), play with low and high detail knobs and finally finetune P1, P2 and P3 if needed.

compensate level for A/B
3ee has stolen my workflow

H.

I am following the suggested workflow in the manual but there's something I'm not sure I quite get :

Drive P1 as hard as you can

"Hard as you can" according to the manual should always be within the green boundaries with occasional "poking" into the yellow.
Correct ?

I then set P2 to be roughly at he same level as P1, re-compensate P1 as it is dependent on P1.
Correct ?

I then set P3 to match roughly P1 and P2.

Changing the tone will affect P1, P2 and P3 so one has to re-dial their values;
Correct ?

Now the part I don't understand : is the envelope global (to all P's) or does it belong to each separate processor ?

The workflow is not clear in regards to these controllers... because according to the above (3ee's workflow), one might assume they are separate...

David Else · Post by **David Else** » Fri Jan 31, 2014 1:40 pm

Was up late last night checking this plug-in out. It is a bit like an automatic TDR Feedback Compressor II with a different sound, different 'ears' and all the settings have totally different names

They are very different really, but P1 is more the TDR equivalent of RELEASE PEAK, P2 RELEASE RMS and P3 could be a mixture of SOFT KNEE and PEAK CREST and other mysterious parameters.

Its like there is a magical bootsie standing behind you as you adjust the controls and reaching out to make your settings more natural sounding.

For voiceover P3 can control the shape of the transient of the voice, its like it controls the smoothing between P1 and P2.

This thing has its own 'ears', it hears the sound in a different way, I assume it is like an artificial human ear, more frequency aware.

Does any of that make sense to anyone, or maybe its too subjective?

bootsie · Post by **bootsie** » Fri Jan 31, 2014 1:48 pm

Tp3 wrote:
Drive P1 as hard as you can

Thats out of context - he said to drive it hard but so that it still sounds good and also to back it off with P2. This way everything should stay "green" and thats what the manual suggests. Its basically just one workflow - you can always travel to Rome on a different route.

Tp3 wrote: Changing the tone will affect P1, P2 and P3 so one has to re-dial their values;
Correct ?

yes and at least one should re-check if any of the processors is actually affected and if that is beneficial or not.

Tp3 wrote: Now the part I don't understand : is the envelope global (to all P's) or does it belong to each separate processor ?

The workflow is not clear in regards to these controllers... because according to the above (3ee's workflow), one might assume they are separate...

They are indeed separate but all three processors are coupled with each other so that they kinda "know what the other one is doing". This might lead to the impression that there is just one envelope computed if that was your question.

released: SlickHDR - Psychoaccoustic Dynamic Processor