Antress Modern1176ME released

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im down

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I don't know why but when i use this plug in Cubase sl3
i don't see anything wroting under the knob
i don't see writting
input
output
attack release
...

to you it's ok ?

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I run Cubase SX3 and the only problem I had was the writing on the dbxme(The last plugin)too.I have a extreemily fast memory and cpu so,I don't have cpu problems.

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bmanic wrote:
kylen wrote:
Kingston wrote:...The type of "It looks like it, therefore it sounds like it" placebo mentality plaques us all, and it takes a long time to get completely past that.
True - add frequency analyzers, even settings on controls and the eyes can take over when the ears should be running the show [most of the time].

How many folks have dialed in an extra 1db on a high shelf, ahh that sounds better...oh-NO! it was in bypass :oops:
I'm actually extremely interested about these issues. I'm more certain than ever that the eyes and ears somehow "share" processing power or "focus" in the brain. Turning one "off" improves the other. This is why, in the not-so-far future I will make sure I have a computer screen free mixing environment possible (everything under knobs and sliders and then I turn the screen off).

I'll be posting some more thoughts about this at another time in another thread but lets just say that my mastering has recently improved a lot by the simple step of turning off the screen. No, I'm not kidding.

Cheers!
bManic
Cool - would love to hear more on this!

Like when you're in the studio and you're looking for that warmer sound - you turn the lights down low - turn on the red lava lamps, put warm fluffy blankets on the chairs. Now everything is warmer - or you can hear if it's too icy easier. Haha a little exaggeration but fun to think about. Or switching skins on FX - maybe even to pics of your own favorite gear - how does putting the skin of an LA2A or an 1176 influence how you set the thing in the first place, or how do the numbers on the knobs affect judgements. Who amongst us will set a knob to 5.9db then kick it up to 6.0db just for principle - why did you do that (ears or eys made you do it?). Haha fun with the Eyes - the not so Benevolent Dictator (if you allow it). :D

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Kingston wrote:
hifiboom wrote:@kingston....

unless you deliver an UAD 1176 sample that does come closer to the original sample, you should just shut up.
but I don't need to!

your example sounds nothing like the bloody *signature* character of LN1176 (which the UAD-1 emulates perfectly) . If it did, I would've jumped on this plugin like there was no tomorrow. The super sharp limiting and it's peculiar shape is the only point of using the 1176 in the first place!

This plugin - like so many other 1176 emulations - completely fails to produce the extremely sharp attack. Your example (and also the scope example to some extent) just sound like quite the regular compressors.

The whole point of LN1176 is the attack that reacts faster than even 44.1khz sample rate is capable of producing.
I havnt heard this plugin yet..but Bro..your just so over the top with BS it kind of funny. And we have the real one sitting right here in the studio. The above reasons are not why people love the 1176. In fact I have never heard that description in my life. Its like your winging it and hope no one notices. If that was all that is too an 1176 we would hear a hundred plugins that could copy it. Saying that your explanation is the only point of using it is way past hyperbole

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Who amongst us will set a knob to 5.9db then kick it up to 6.0db just for principle
No way. I always set everything to 11. Possibly the visuals might make me want to turn it up to 11.1 though?

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johnrrrrrr wrote: I havnt heard this plugin yet..but Bro..your just so over the top with BS it kind of funny. And we have the real one sitting right here in the studio. The above reasons are not why people love the 1176. In fact I have never heard that description in my life. Its like your winging it and hope no one notices. If that was all that is too an 1176 we would hear a hundred plugins that could copy it. Saying that your explanation is the only point of using it is way past hyperbole
How about you contribute something useful then? At least Kingston made a statement about how HE perceives the 1176 and why it is useful in mixing. I kind of share his view, it DOES have an extremely fast attack (it's only a couple of micro seconds) which is a kind of "trademark" for it. This is why it distorts in that recognizable way on bass guitar, that buzzing, as it modulates the signal. This is also why the 1178 is liked on the drum overheads or room mikes as it provides that squashed ambience.

I've checked all your posts (all 14 of em that you've written over the years) and never have you contributed any sound examples, clips, or constructive advice. With all your high-end hardware that you keep saying that you have around you and all that experience of yours, why don't YOU post something useful for a change?

How about posting some examples of how and where you use the 1176.

- bManic
"Wisdom is wisdom, regardless of the idiot who said it." -an idiot

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bmanic wrote:
How about posting some examples of how and where you use the 1176.

- bManic
yay! bitch fight!

do it up guys!

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"sharp attack":

on most digital compressors you can dial in an attack that is equal to 0... so this would be better than a real 1176...

Are we talking about the same thing?

what do you mean with the sharp attack?

definition:
The amount of time the compressor takes to respond when the input level rises above the threshold is called the attack time.

so a simple hard clipper has an attack of 0. Vintage Gear.. :lol:
in fact a short attack and a short release combined with a high compression ratio is some kind of limiter.

Sadly, these parameters tell nothing about the quality of a comp.
Image

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Yawn. Back to the Ghost Hunters website with me. :)
Here is my small version:

PLEASE VISIT www.thehungersite.com DAILY AND CLICK THE LINKS. THEY DONATE MONEY TO CHARITY BASED ON AD INCOME. IT'S FREE!

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hifiboom wrote:on most digital compressors you can dial in an attack that is equal to 0... so this would be better than a real 1176...
if only the numbers had any contribution to the sound. In the case of compressors the actual marked values of attack and release tell us practically nothing.

The most important factor would be the actual shape of those particular curves, and possible program dependencies. That gives us innumerable variables already (internally to the compressor if the developer was up to snuff). In digital realm you can also add aliasing and possible clicking and other artifacts to the equation. No fun.

"sharp attack" was just my personal way of describing a few things, but I guess it means very little unless there's a common reference.
hifiboom wrote:Sadly, these parameters tell nothing about the quality of a comp.
no kidding.

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finalfantasy8 wrote:
bmanic wrote:
How about posting some examples of how and where you use the 1176.

- bManic
yay! bitch fight!

do it up guys!
just get the f**k out of here. you were banned for a good reason, what 4 times already? not getting the hint are you?

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Kingston wrote:
finalfantasy8 wrote:
bmanic wrote:
How about posting some examples of how and where you use the 1176.

- bManic
yay! bitch fight!

do it up guys!
just get the f**k out of here. you were banned for a good reason, what 4 times already? not getting the hint are you?
Hey.. relax. He is on my side this time, no? :hihi:

Cheers!
bManic
"Wisdom is wisdom, regardless of the idiot who said it." -an idiot

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Kingston wrote: just get the f**k out of here. you were banned for a good reason, what 4 times already? not getting the hint are you?
Wasn't it 8 times?
Here is my small version:

PLEASE VISIT www.thehungersite.com DAILY AND CLICK THE LINKS. THEY DONATE MONEY TO CHARITY BASED ON AD INCOME. IT'S FREE!

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