Sonimus Satson (Console emulation) ready to buy now :)

[Compyfox]

Wait, not this is splitting hairs but wasn't the initial concept (Nebula, VCC, Juice, STUDER A800, RounTone, Nomad Magnetic, NEVE 88RS, etc) to have this particular plugin on the first insert slot to mix from the "routed-to-the-mixer-already" point of view?

I thought putting these plugins as last pre-fader plugin is generally recreating the outboard gear/preamp chain pre-mixing console.

Wasn't this what all these plugins/solutions were about in the first place? Unless all users misunderstood the concept (myself included).

[lightsfadelow]

Couldn't wait anymore. Clicked buy. This and all the SKNote plugs together make quite the budget studio What a great year for VST and the independent developer.

[Mercado_Negro]

Wait, not this is splitting hairs but wasn't the initial concept (Nebula, VCC, Juice, STUDER A800, RounTone, Nomad Magnetic, NEVE 88RS, etc) to have this particular plugin on the first insert slot to mix from the "routed-to-the-mixer-already" point of view?

I thought putting these plugins as last pre-fader plugin is generally recreating the outboard gear/preamp chain pre-mixing console.

Wasn't this what all these plugins/solutions were about in the first place? Unless all users misunderstood the concept (myself included).

Well, I don't know what "all" users do/prefer but this is what makes sense to me. Using the plug-in in the first insert slot is like tracking through it and having all your insert points right after it, which is quite unusual to me. For instance, when I use tape sims like Roundtone+VTM-M2 I don't put it in the first slot either because I never liked the sound of tracking to tape. In my set up I use Roundtone+VTM-M2 after SatSon/VCC/Nebula since I like mixing to tape (which would've been quite expensive back in the old days heh), some sort of 'printing to tape' without the added return to the console. If you take a look at SatSon's signal flow in the manual you'll see the gain (a console fader) drives the emulation, not the other way around. I've done some listening tests with VCC which confirm this as well (the gain drives the emulation).

[No_Use]

If you insert it in the first insert slot you're recreating a "recorded through the desk" scenario. If you insert it as the last FX in your chain you're recreating a "mixing in the console" scenario since most desks' insert points are pre fader and these "channels" are your console faders.

Does this mean in your workflow when mixing with Satson, you leave the track faders of your DAW always at 0dB and use only Satson's gain knob (inserted as last FX) to level the volume or did I musunderstand ?

[Compyfox]

Sorry for another OT here, but this seems kind of important on the long run.

Well, I don't know what "all" users do/prefer but this is what makes sense to me. Using the plug-in in the first insert slot is like tracking through it and having all your insert points right after it, which is quite unusual to me. For instance, when I use tape sims like Roundtone I don't put it in the first slot either because I never liked the sound of tracking to tape. In my set up I use Roundtone after SatSon/VCC/Nebula since I like mixing to tape (which would've been quite expensive back in the old days heh), some sort of 'printing to tape' without the added return to the console.

Forgive me if I'm wrong, but in this case (VCC, SatSon, Juice, Nebula, etc), we're not talking about a standard "fixed routind" console, but a totally flexible configusation.

Tracking = Recording
Mixing = Post Production

Now in your case, you don't like the sound being "on tape" already, but you rather mix "into it". So you use your plugins (say an EQ, a comp, a gate) -> SatSon (or whatever else) -> Tape Sim. You then created a recording chain pre-console -> Console -> Tape (as return). And then the faders/pan are just for placing the "tape sound" accordingly in the mix, while the summing plugin is for the "analog" fingerprint (crosstalk) on the console again (true tape return).

Due to the switch of the insert slots, you determine what you actually do.


But isn't it irrelevant if you basically do PostPro only? Sure it would be different if you also record as well and want to use <younameit> as a console emulation/soundprint. Then I'd use this plugin either as last instance pre-EQ/fader (and therefore have "two-times" the console: while tracking/recording and while mixing/postpro) as well. Or simply record clean and then go from there.

But while mixing it really doesn't matter (IMO!) unless you want to recreate a certain "routing" or "re-recording order"


So we were both right, no?

If you take a look at SatSon's signal flow in the manual you'll see the gain (a console fader) drives the emulation, not the other way around. I've done some listening tests with VCC which confirm this as well (the gain drives the emulation).

Agreed that the gain/trim(!) "drives" the signal into saturation (input transistor/tube/etc) on both creations. But from the manual of both SatSon and VCC I wouldn't say the gain/trim resembles the console's fader. Even Diego Toritto (developer) wrote that the input gain is for trimming/gainstaging the signal before further processing - and he put the plugins on Insert slot 1 as well.

The channel fader itself is a variable resistor to trim the signal even further ("placing it"). Hence the summing plugin and the -18dB (RMS) reference level, therefore having a larger headroom, etc.

So the channel plugin in this case (much like VCC, Nebula and probably Juice as well) is actually the "mic/line preamp" with an added LP/HP filter and a VU setup to -18dB RMS.


Though I'm a tiny little bit concerned about this in the manual:

Forget everything you've learned about digital mixing, you can exceed 0dbfs without digital clip. The VU Clip indicates that your track/buss start to sound more distorted and begins to limit the signal. you can use this effect on some tracks / busses to achieve a better mix.

Since I didn't find any info regarding a "headroom" of the bus plugin (ditto with VCC's manual btw), I think he means the normal "softclipping" (and therefore compression of the signal) that occours while overdriving the headroom to a certain extend until the headroom limit is reached.

Then again, what's the limit?

A hypothetical +12dB VU if the meter would go as high?
(a +/-3dB VU level as hotspot would be more advisable, no? this can still reach above 0dBFS digital peak while summing).


In VCC beta 2.5 for example (IMO still the most accourate VU respresentation), the SSL could exceed up to +8dB VU before it went down the drain (at least on my end), though everytime I mixed with any random console, I tried to never exceed +2dB VU (my personal hotspot).



Not to derail, I'm just wondering.

[Mercado_Negro]

Does this mean in your workflow when mixing with Satson, you leave the track faders of your DAW always at 0dB and use only Satson's gain knob (inserted as last FX) to level the volume or did I musunderstand ?

No, I use my track faders to compensate the gain I applied within SatSon since I don't use "Output compensation" in regular tracks.

@Compyfox:

You definitely know how to make things sound complex heh (no offense, sir, just kidding).

Both approaches are valid, that's the beauty of mixing ITB

I do all the editing and leveling before starting a mix. I edit all the mix without SatSon/VCC and then I bring them in for leveling purposes (geez, sometimes I wish VCC had more input gain). Here's where I turn my console on, so to speak After all the leveling and putting the mix together (with their gain and my tracks faders), which is pretty fast now with these plug-ins since they sound great, I start mixing, adding all plug-ins before them (less tape sims like Roundtone and VTM-M2 which I also like a lot).

[samsam]

I do all the editing and leveling before starting a mix. I edit all the mix without SatSon/VCC and then I bring them in for leveling purposes (geez, sometimes I wish VCC had more input gain). Here's where I turn my console on, so to speak After all the leveling and putting the mix together (with their gain and my tracks faders), which is pretty fast now with these plug-ins since they sound great, I start mixing, adding all plug-ins before them (less tape sims like Roundtone and VTM-M2 which I also like a lot).

Here's where I'm still confused, after reading the discussions here and on gearslutz:

The manual says to put Satson FIRST, both on tracks and bus/master.

Yet some people (including my interpretation of the above quote) do this differently, reasons given include many things I don't really understand.

So, from the point of view to a novice to console emulation who, rather than being too interested in ALL the underlying theories, just wants to add a bit of mojo that sounds good and glues things together (nearly always electronic stuff, synths and samples) where should be my default position in the chain to insert Satson?

Ta much.

[Mercado_Negro]

Here's where I'm still confused, after reading the discussions here and on gearslutz:

The manual says to put Satson FIRST, both on tracks and bus/master.

Yet some people (including my interpretation of the above quote) do this differently, reasons given include many things I don't really understand.

So, from the point of view to a novice to console emulation who, rather than being too interested in ALL the underlying theories, just wants to add a bit of mojo that sounds good and glues things together (nearly always electronic stuff, synths and samples) where should be by default position in the chain to insert Satson?

Ta much.

Try 3 things if you own SatSon already.


A)
Load an old mix, remove all plug-ins (except VSTi's, if any), set your track faders at 0dB, insert a SatSon Channel in each track (in pre-fader inserts) and pull their gains down to -24dB (in the back panel of all SatSon Channels you'll find a switch called "Super Gain", turn it on: this will change the gain range from +/- 18dB to +/-24dB). If you have busses then add a SatSon Buss in each. Now add a SatSon Buss in your Master track.

OK, now focus on your drums, mute everything else. Start with the kick, mute the rest of your drums elements. Open the SatSon instance you inserted in this track, and while playing your mix, go moving its gain up until you feel you've reached a good level but always stay away from the red area in SatSon's meters, keep it below 0VU for now. Now do the same with the rest of your drums elements, unmute one by one and move their SatSon's gain up until you've reached a good level. Do the same with the rest of your mix until you've balanced all levels. If you need to compensate something because +24dB isn't enough (or -24dB is too much) just use your tracks faders.

Now you're done with Gain Staging. Start mixing now Add all your processors after SatSon (keep SatSon in the first slot, always). Bear in mind that if you have a dynamics processor in your chain, any change in SatSon's gain will affect it (in this case the output compensation is useless since it will destroy your gain staging at this point). In this scenario you're using SatSon for gain staging and some sort of console mojo, that's all. At this point you can't move its gain anymore (or at least, you shouldn't).


B)
Load that old mix again, remove all plug-ins (except VSTi's, if any), pull all your tracks faders all the way down and start leveling your mix with them. Do not insert SatSon at this point. Once you've leveled your mix insert a SatSon Channel in each track (pre-fader insert) and turn the "Output Compensation" on (also insert SatSon Busses in your busses and Master Track). Move their gains up or down, one by one, until you hear something you like (some people call it 'find the sweet spot of the console'). You'll hear more or less saturation, punch, 'fullness', depth, etc., etc.

Once you're done with each channel, start adding your processors after each SatSon or before (since "Output Compensation" is on, it doesn't matter where you place it because it won't alter the gain staging but bear in mind that things will sound different depending on where you put it since all that saturation, punch, etc., will modify the input of your processors). In this scenario you're using SatSon as some sort of console mojo, that's all.


C)
Load that mix once again, remove all plug-ins (except VSTi's, if any), set your track faders at 0dB, insert a SatSon Channel in each track and SatSon busses in your busses and Master track (in pre-fader inserts) and start leveling your mix with their gain. In some cases you'll need to compensate levels with your tracks faders because you added too much gain within SatSon for some reason (maybe you wanted to go get close to 0VU but it sounded too loud). Once you're done just insert all processors before SatSon. In this scenario all those processors will modify SatSon't behavior, making things more interesting since the way it reacts to dynamics/frequencies is great (like working in a real console where any small change in dynamics/levels/frequencies makes a big difference). Here you can push SatSon harder if you want and compensate with your tracks faders. With this approach you can use SatSon's gain as your track faders (like in a real console where every bit of gain modifies the way the console sounds/react... unlike DAWs faders where everything is clean). This is the method I use because as you can see it's much more fun and interesting. You can put mixes together in a couple of hours with this approach since things don't fall apart and everything is flowing through a coherent path where 'gain' is the difference between a solid or weak mix.

Hope that helps

[samsam]

Here's where I'm still confused, after reading the discussions here and on gearslutz:

The manual says to put Satson FIRST, both on tracks and bus/master.

Yet some people (including my interpretation of the above quote) do this differently, reasons given include many things I don't really understand.

So, from the point of view to a novice to console emulation who, rather than being too interested in ALL the underlying theories, just wants to add a bit of mojo that sounds good and glues things together (nearly always electronic stuff, synths and samples) where should be by default position in the chain to insert Satson?

Ta much.

Try 3 things if you own SatSon already.


A)
Load an old mix, remove all plug-ins (except VSTi's, if any), set your track faders at 0dB, insert a SatSon Channel in each track (in pre-fader inserts) and pull their gains down to -24dB (in the back panel of all SatSon Channels you'll find a switch called "Super Gain", turn it on: this will change the gain range from +/- 18dB to +/-24dB). If you have busses then add a SatSon Buss in each. Now add a SatSon Buss in your Master track.

OK, now focus on your drums, mute everything else. Start with the kick, mute the rest of your drums elements. Open the SatSon instance you inserted in this track, and while playing your mix, go moving its gain up until you feel you've reached a good level but always stay away from the red area in SatSon's meters, keep it below 0VU for now. Now do the same with the rest of your drums elements, unmute one by one and move their SatSon's gain up until you've reached a good level. Do the same with the rest of your mix until you've balanced all levels. If you need to compensate something because +24dB isn't enough (or -24dB is too much) just use your tracks faders.

Now you're done with Gain Staging. Start mixing now Add all your processors after SatSon (keep SatSon in the first slot, always). Bear in mind that if you have a dynamics processor in your chain, any change in SatSon's gain will affect it (in this case the output compensation is useless since it will destroy your gain staging at this point). In this scenario you're using SatSon for gain staging and some sort of console mojo, that's all. At this point you can't move its gain anymore (or at least, you shouldn't).


B)
Load that old mix again, remove all plug-ins (except VSTi's, if any), pull all your tracks faders all the way down and start leveling your mix with them. Do not insert SatSon at this point. Once you've leveled your mix insert a SatSon Channel in each track (pre-fader insert) and turn the "Output Compensation" on (also insert SatSon Busses in your busses and Master Track). Move their gains up or down, one by one, until you hear something you like (some people call it 'find the sweet spot of the console'). You'll hear more or less saturation, punch, 'fullness', depth, etc., etc.

Once you're done with each channel, start adding your processors after each SatSon or before (since "Output Compensation" is on, it doesn't matter where you place it because it won't alter the gain staging but bear in mind that things will sound different depending on where you put it since all that saturation, punch, etc., will modify the input of your processors). In this scenario you're using SatSon as some sort of console mojo, that's all.


C)
Load that mix once again, remove all plug-ins (except VSTi's, if any), set your track faders at 0dB, insert a SatSon Channel in each track and SatSon busses in your busses and Master track (in pre-fader inserts) and start leveling your mix with their gain. In some cases you'll need to compensate levels with your tracks faders because you added too much gain within SatSon for some reason (maybe you wanted to go get close to 0VU but it sounded too loud). Once you're done just insert all processors before SatSon. In this scenario all those processors will modify SatSon't behavior, making things more interesting since the way it reacts to dynamics/frequencies is great (like working in a real console where any small change in dynamics/levels/frequencies makes a big difference). Here you can push SatSon harder if you want and compensate with your tracks faders. With this approach you can use SatSon's gain as your track faders (like in a real console where every bit of gain modifies the way the console sounds/react... unlike DAWs faders where everything is clean). This is the method I use because as you can see it's much more fun and interesting. You can put mixes together in a couple of hours with this approach since things don't fall apart and everything is flowing through a coherent path where 'gain' is the difference between a solid or weak mix.

Hope that helps

Bookmarked for great justice!

Yes, I have just bought SatSon and that is a huuuugely useful reply that I will keep coming back to in the next few days.

Muchisimas gracias colega, si algun dia paso por tu pais, te comprare una cerveza o dos

[kelvyn]

Here's where I'm still confused, after reading the discussions here and on gearslutz:

The manual says to put Satson FIRST, both on tracks and bus/master.

Yet some people (including my interpretation of the above quote) do this differently, reasons given include many things I don't really understand.

So, from the point of view to a novice to console emulation who, rather than being too interested in ALL the underlying theories, just wants to add a bit of mojo that sounds good and glues things together (nearly always electronic stuff, synths and samples) where should be by default position in the chain to insert Satson?

Ta much.

Try 3 things if you own SatSon already.


A)
Load an old mix, remove all plug-ins (except VSTi's, if any), set your track faders at 0dB, insert a SatSon Channel in each track (in pre-fader inserts) and pull their gains down to -24dB (in the back panel of all SatSon Channels you'll find a switch called "Super Gain", turn it on: this will change the gain range from +/- 18dB to +/-24dB). If you have busses then add a SatSon Buss in each. Now add a SatSon Buss in your Master track.

OK, now focus on your drums, mute everything else. Start with the kick, mute the rest of your drums elements. Open the SatSon instance you inserted in this track, and while playing your mix, go moving its gain up until you feel you've reached a good level but always stay away from the red area in SatSon's meters, keep it below 0VU for now. Now do the same with the rest of your drums elements, unmute one by one and move their SatSon's gain up until you've reached a good level. Do the same with the rest of your mix until you've balanced all levels. If you need to compensate something because +24dB isn't enough (or -24dB is too much) just use your tracks faders.

Now you're done with Gain Staging. Start mixing now Add all your processors after SatSon (keep SatSon in the first slot, always). Bear in mind that if you have a dynamics processor in your chain, any change in SatSon's gain will affect it (in this case the output compensation is useless since it will destroy your gain staging at this point). In this scenario you're using SatSon for gain staging and some sort of console mojo, that's all. At this point you can't move its gain anymore (or at least, you shouldn't).


B)
Load that old mix again, remove all plug-ins (except VSTi's, if any), pull all your tracks faders all the way down and start leveling your mix with them. Do not insert SatSon at this point. Once you've leveled your mix insert a SatSon Channel in each track (pre-fader insert) and turn the "Output Compensation" on (also insert SatSon Busses in your busses and Master Track). Move their gains up or down, one by one, until you hear something you like (some people call it 'find the sweet spot of the console'). You'll hear more or less saturation, punch, 'fullness', depth, etc., etc.

Once you're done with each channel, start adding your processors after each SatSon or before (since "Output Compensation" is on, it doesn't matter where you place it because it won't alter the gain staging but bear in mind that things will sound different depending on where you put it since all that saturation, punch, etc., will modify the input of your processors). In this scenario you're using SatSon as some sort of console mojo, that's all.


C)
Load that mix once again, remove all plug-ins (except VSTi's, if any), set your track faders at 0dB, insert a SatSon Channel in each track and SatSon busses in your busses and Master track (in pre-fader inserts) and start leveling your mix with their gain. In some cases you'll need to compensate levels with your tracks faders because you added too much gain within SatSon for some reason (maybe you wanted to go get close to 0VU but it sounded too loud). Once you're done just insert all processors before SatSon. In this scenario all those processors will modify SatSon't behavior, making things more interesting since the way it reacts to dynamics/frequencies is great (like working in a real console where any small change in dynamics/levels/frequencies makes a big difference). Here you can push SatSon harder if you want and compensate with your tracks faders. With this approach you can use SatSon's gain as your track faders (like in a real console where every bit of gain modifies the way the console sounds/react... unlike DAWs faders where everything is clean). This is the method I use because as you can see it's much more fun and interesting. You can put mixes together in a couple of hours with this approach since things don't fall apart and everything is flowing through a coherent path where 'gain' is the difference between a solid or weak mix.

Hope that helps

Thanks a lot... very helpful

I'm not at all technically minded but if I cast my mind back to the days when I recorded albums to tape through analogue gear it went something like this:

Tracking: Instruments and drums directly into desk... Satson channel on the first insert of each channel and Satson Buss on the aux/buss master channels.

Mixing: Since the tape machine is coming into the desk and then going to a tape machine... Tape emulation plug in on the first insert of each channel then Satson channel followed by eq/compression etc. On the aux/buss channels Satson buss in the first insert. On the master out Satson buss on the first insert and a tape emulation plug in as the last insert before bouncing down.

This is how I would set up my mixes following traditional tape analogue desk methodology.

[Compyfox]

In my case, since I have all stuff ITB already, I'd also use <younameit>'s CHANNEL and MIX BUSS plugin on insert 1. I don't compensate/trim the signal with the gain/trim knob on the plugin itself, but rather the channel strips gain/trim to have a steady signal overall.

Take a look at my KVRmarks how I do that (pretty much the same as Mercado wrote, only that I use PSP Vintage Meter for the time being as metering device pre any console/tape channel type plugin).




If I record and want a fingerprint of the console/tape in the process (very rare), I'd use at least the channel/tape plugins on the recording channel (Cubase Input Channel), which is then routed to a regular audio channel anyway. After recording, I'll add another "console" plugin on insert one and mix away.

Meaning:
original signal -> AD/DA -> Cubase Input Channel -> added EQ/compression as needed -> <younameit> plugin for console/tape sound -> Cubase's audio channel (the actual record/playback track).


Since Cubase is then the tape machine, and the mixing matrix in basic form the console, I go from there. Of course I can ignore the fingerprint and always add <younameit> while the actual mixing process. It's completely flexible.

But this would be the general idea of using a mixing console for balancing/filtering/routing the signal to a tape machine (may it be analog or digital), then the tape machine is in playback mode and you use the mixing console for even further editing. Pretty much how you would see it everywhere - which is how I learned it as well. You run several times through a console one way or another, which is why it is important to have a proper gainstaging.


As sidenote:
Personally I do prefer to have a clean, non fingerprinted signal/sound going on to my digital tape machine as well. The only plugins/modules I'd use would be a compressor only. EQ might come already from a mixing console pre-AD/DA, and therefore the initial fingerprint as well. Unless I want to enhance that some way (example: recording with PODFarm's AVALON-type preamp on the recording channel). It'd be different of course if your mic/line signal is directly attached to your AD/DA and your host is the tape machine and console. But even then you have a certain fingerprint from the preamp already.




But back to the routing/plugin placement:

If I want to recreate a certain "routing", I either create the appropriate send/return channel - here the audio/VSTi channel sends to an FX channel. Insert 1-4 could resemble "outboard gear", while insert 5/pre-fader would resemble the return buss and therefore the console again, insert 6 can then be used as "console's compressor" (if it's not bundled with the plugin), then you still have the pre-fader EQ and the fader itself.


Or, you create all that within the 6 available inserts pre EQ/fader.
Meaning: <younameit> on insert 1 for the console sound -> "outboard gear" -> back to a <younameit> plugin, pre-fader EQ, fader -> master/summing bus.




The summing device plugin should always be on insert 1 of your master/summing bus. You mix "through" it after all. If you did a proper gainstaging, you don't need to compensate the incoming signal either, or limit it with a limiter/clipper afterwards - just setup once, forget it's there and have an eye on the output meter to not exceed -1dBFSS peak. Then you're set.




The good thing is, if you level in your signal (as written with my first paragraph) right from the start (aka gain staging), you can easily exchange your channel/tape type plugins (especially if they're calibrated to -18dB RMS) and therefore create your custom console should you not be satisfied with what you have already.

Another example:
Your drums could be using the Nebula AlexB channel presets, your guitars could use SatSon, your strings could utilize G-Sonique Pultronic (EQ flat, just the tubes), your Vocals could just have a tape fingerprint or both a console and a tape (meaning: tape on insert 1, console on insert 2), your group channels could run through Variety of Sound BootEQmkII (EQ off, only the saturation stage) or TesslaPRO, the FX channels could utilize Sonimus's own EQ (again, EQ off, only the saturation stage) and your summing device could be Slate VCC.

If you have all these plugins (or suitable alternatives) - instant "custom console" that nobody else has.

Or... just stick to one plugin collection.

What you put after it is totally your thing. Can be complete digital filter/compressor, or "emulation type" ones to shape the sound even further.


The sky is the limit. Use your imagination.

You definitely know how to make things sound complex heh (no offense, sir, just kidding).

It's actually quite simple once you wrap your head around it. As you said, ITB almost everything is allowed nowadays (even ignoring the signal level). If you want to stick more to the "old" days (and therefore "better" ones, as some like to put it), you need to think a bit different, within boundaries.

This is what makes it sound complicated/complex if you try to describe it.

Just take a look at the recently popping up (again) "60ies/70ies" sound threads on KVR. Know one or another rule, then port it over to modern days to recreate that.




There's nothing wrong in asking delicate questions, it's the way you answer them.

[macmurphy]

Try 3 things if you own SatSon already.

..snipped to save space...

that's pretty much the most helpful post ever

[MFXxx]

Thanks Mercado_Negro @ compyfox. Mercado that is a great post so thanks for your time. I think it's important for people to understand what hey are doing and why (me included). This is the beauty of these emulation consoles. You can start routing outside what you would normally do in the physical world due to limited resources physically and financially.

I would not ever try mastering but I do like to find new flavours in sounds and this is where playing around with configurations can become creative imho.

I have more money (which isn't a lot)than talent and sense (say's a lot doesn't it) but for me delving into my world of audio is my hobby...it's fun and to here what some of the plugins do to the sound is part of the creative adventure. And to think you can get clsoe to the OTB sound ITB with wild configurations and slapping multiply tape types on a track(s) is going to provide some different if not unheard of results...hopefully more positive than crap

This is where I believe the rule book can be thrown out the window as already stated in Mercado and compys post.

In short I am using them for creating a unique vibe and sound where as some people will be using them purely for tracking, post productiona or mastering...

Overall...I am sure there is more great things to come. Now where's those x128bit 64 cpu processors with 1TB or Ram

[Compyfox]

This is where I believe the rule book can be thrown out the window as already stated in Mercado and compys post.

The only rule that is existing:
Keep an eye on proper Gain Staging.

Granted, with 32bit internal floating point math precision you can mostly disregard that. But if a plugin is "calibrated" to work at a certain level (and starts to saturate at that as well) - it is important.

Overall...I am sure there is more great things to come. Now where's those x128bit 64 cpu processors with 1TB or Ram

I think the next interesting step towards that direction is GPU DSP (not limited to Nvidia/CUDA anymore), so I'd keep an eye on that.

The first devs broke the 8x internal oversampling (some even 16x) mark already, so there will shortly be a need for either higher CPU performance, or a system where to outsource that if there is no "more Oversampling while rendering compared to real time use" option available. And since the only major DSP player is UAD now, it is good to see the GPU DSP idea as competiion.



To get back on topic:
I'm really curious about the demo now. Hope it's not crippled. And I'm interested in the modern/vintage crosstalk mode.

[MFXxx]

I think the next interesting step towards that direction is GPU DSP (not limited to Nvidia/CUDA anymore), so I'd keep an eye on that.

The first devs broke the 8x internal oversampling (some even 16x) mark already, so there will shortly be a need for either higher CPU performance, or a system where to outsource that if there is no "more Oversampling while rendering compared to real time use" option available. And since the only major DSP player is UAD now, it is good to see the GPU DSP idea as competiion.

Interesting regarding the GPU DSP I am guessing this is to do with hacking the Graphics Card processor and memory to spread the load of the audio processing, relieving the CPU (PCs Processor) to do other tasks. Not a new idea from memory as I think this was being looked into a few decades back. Wonder if this would have an impact on Windows7 users with Aero and such like features. If generic will certainly see an increase in multi graphics cards in machines heehee. Due to the conversion and signal path I am guessing this would be used more for rendering than live mixing?