sixtyfive is one of the things I miss from when I was using Windows. God, I would kill for a Mac port of this (but I realize that's impossible).
I've tried UAD's and Waves' dbx emus, and to me, this one sounds the best, retaining the bottom end of the input and not collapsing into digital mush as quickly as the aforementioned—especially at high gain-reduction levels.
It's worth 10x its asking price. Cannot recommend it enough.
I am a great, great lover of plugins that do just one thing well and in a straightforward manner. This is a very good example, right up there with Clap of Luxury by xoxos, though not as flexible because it uses samples as opposed to synthesizing the cowbell sounds in real time -- which would be awesome, but the samples used here are solid and there's enough variety that I think this will be my source for cowbell sounds for a long time. Obviously writing this VST was just a lark for this very talented developer, but it's nonetheless very great. Thanks to de la Mancha.
Often I ask myself if it is necessary to buy commercial plugins. Yes, it is... sometimes. The first time when I used this plugin I was really excited; clean GUI, just few knobs and good results... ideal for beginers.
Over time I started to see minor flaws. The biggest problem for me are these knobs: Ratio, Attack and Release. I don't know why, but Threshold (0 - -40dB) and Make-Up (0 - +20dB) knobs can be turned gradually (I'm using FL studio and I can see knob's current value in "Hint Bar"). Ratio could be set from 1.5:1 to infinity, but value in Hint Bar starts in 0.0000, and it shows 4 when it is 10:1 (???WHY???), moreover knob only "jumping" from value to another value and turning is not smooth. This is similar for knobs Atack and Release. Therefore, I think, that you can't set exact values, but only approximate values for these knobs. If you want something more precise, I suggest to buy de la Mancha Sixtyfive compressor - it's only 15$.
I really like VU meter (very useful) and also "Dirt" button - I loved it on drum bus. When "Dirt" button is ON, CPU is little higher, but not more than 5% in my old laptop (1.6GHz).
If you want good, free and easy to use compressor, get it, you can't go wrong.
Sounds pretty much like a C-64 that's been thrown down several flights of stairs and stomped on, and that's why I love it! The waveforms at it's disposal are all gnarly polypulses and otherwise jagged curves. Some of the waveforms are a sample of several cycles, producing a glitchy rattling effect in the higher registers. In fact, this synth makes so many flavours of broken circuit-bent noise, that it's come to be one of my favourites for lo-fi!
Three oscillators with a large selection of unhealthy waveforms, ring and sync, a very cool resonant lowpass, an amp and filter/pitch envelope, and two LFO's are at your disposal. Modulation possibilities are not infinite, and you'll find things you can't do, but that's all part of the game. It's about what you CAN do, and how gnarled and ripped you can make it sound :)
Of special note to me is the oscillator sync option, which is interesting in that it seems to sync according to the zero-crossings of the master, not just once per cycle. This means that the master, as well as the slave, will have an effect on the resultant timbre.
After the main synth section several options are present to further humiliate the sound. Bitrate reduction is on offer in a few flavours, as is a long menu of 'dirt' modifiers for the waveform, which are all subtly different and consist of such wonders as saturation, wave rectification, clipping, and forcing the waveform onto a landmine. Ok, I just made that up, but certainly you can expect injury to occurr here if need be, and often you'll end up with a signal containing DC-offset. You might want to have a highpass filter on standby.
Furthermore there's a pitch destabilizer with variable speed and offset, which can produce analogue style drift or wretched buzzing, and my favourite, the 'messy contacts' emulation section. This can be mixed in gradually and produces a variety of effects from red noise to a pulsating shadow underneath the sound, to almost slapback room type effects. It's both dirty and dimensional at the same time, and can really give sounds a unique and interesting character, and used subtly, it will just add some randomness to the waveform which is very welcome.
If you use circuit-bent, glitchy, broken sounding synth tones, I'm sure you'll love this synth. There's a huge range of tones from straight to completely %#~£ed and a unique quality I've not heard anywhere else. It's also 'dirt' cheap! Ha!Read Review
QB-3, de la Mancha's vintage style EQ is a beauty. It has everything you need to add a nice color to your instruments. Its features are what you would expect from such a plugin and "only" being a 3-band EQ does not make it any less useful. Unlike transparent EQs, I use QB-3 to boost certain frequencies instead of cutting the others, and therefore in a more a creative way. I really appreciate the 40Hz cut, which helps make room for that kick drum and other low-end stuff and the possibility of typing values directly under the knobs. Support is excellent and the documentation shows you in depth the process behind QB-3. The price tag, just like all DLM plugins, is extremely affordable. The presets selection is good but just like presets on any EQ, they will have to be tweaked a little to achieve that sound you are looking for. Finally, if you like that vintage sound, you could also check out the rest of the DLM vintage series (GTO/GTX compressors and ClipStar), which is just as stellar.Read Review
I know that many circuit bending purists will often say that there's no way that you can get the feel of circuit bent hardware in software, but to me, it's all just sounds, and I like anything that gives me something new to make sounds with. Bent is a nice little tool for that, and I'm a huge fan of anything FSU related - if it can glitch, glitch it, I say.
Bent has a nice little interface, pretty easy on the eyes and easy to use. I like the old school circuit board look. The "Jitter", "Morph" and "Grain" controls are easy to use with their slider interface. They were pretty responsive, which I also liked.
The sound is nice and dirty, with lots of grit and stuttering added to the source sound. I was taking house tracks and making them dirty and glitched out fast and easy with Bent. It's cool to drop Bent onto a signal chain and just let it mess something up, you can make something new out of that pretty easily.
One thing I'd really like though is a little more grit and distortion. I found myself having to add a distortion effect to get that extra punch that distortion gives to anything Glitch based. I also like a pitch shift of some kind, to really take the sound WAY down or up and really freak it out - but the simplicity of Bent works well too, because most Circuit bent tools aren't overly complex anyway.
Overall, a cool plugin, all I wish is that there were an AU version!Read Review