Magic vst that "adds air" ?

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Tricky-Loops wrote:
djanthonyw wrote:The Maag EQ has a specific knob just for air.
What is the magic about the "air" knob? Isn't it just a high shelf filter that can be activated in any other (good) EQ unit?
Not really, the sound becomes more focused.
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Actually it is just a filter, Maag Eq doesn't model any nonlinearities or have distortions etc .. It's just an eq (even the air knob), but it has some nice curves and phase response
circuit modeling and 0-dfb filters are cool

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No_Use wrote:Try Toneboosters ReelBus with "Reel Highs" preset.
Tried it, didn't like it at all.
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penguinfromdeep wrote:Actually it is just a filter, Maag Eq doesn't model any nonlinearities or have distortions etc .. It's just an eq (even the air knob), but it has some nice curves and phase response
no it DOES NOT. it's the same old cramped phase response near nyquist, like other eqs.

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Everytime a new eq comes to the market, most of the people are all over it, and fall in love immediately and consider it to be the greatest of all time, when it's the same old crap with a new gui.
My point of view is that if it doesn't model non-linearities, it's not worth using, as you can replicate virtuaally ANY EQ with gliss eq or any other parametric eq, for that matter, without sacrificing the " EASY WORKFLOW".. YMMV

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extrabigmehdi wrote:
It's not a mix, I'm elaborating a dsp chain for pure listening enjoyment ,
and on headphones.
I have a favorites folder where the songs are all rendered with field recordings
of various oceans, creeks, winds, bird calls etc. Makes a nice change of pace.
Cheers

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Anyone who can make you believe absurdities can make you commit atrocities.

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Try nebula free with doc fear demo preset.

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I have so many EQ's, I have trouble justifying a new one for 'air'.
All these plugins claim they adjust what's already there, so wouldn't they be some kind of EQ?

Air suggests to me it 'adds' something that hasn't been there before (like a wave shaper/distortion or added noise, etc..).

Multiple EQ bands of various Q bell/shelf curves should be able to get the same result, wouldn't it?
Cowbells!

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+1 for NastyVCS.

just don't overdo the Air setting and you're set.
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sunny_j wrote:Everytime a new eq comes to the market, most of the people are all over it, and fall in love immediately and consider it to be the greatest of all time, when it's the same old crap with a new gui.
YMMV
Hahaha, I am glad someone else said this as I have been thinking the same thing for a long time.
I find it a bit funny that a product that people praise today suddenly somehow sounds bad tomorrow.
Ooh... it's new and shiny. It must be good.
Good sound sounds good yesterday, today and tomorrow :D

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Ive been using crysonic Nxt version 2, its very similar in what it does to the BBE sonic maximizer. It adds a sheen and clears up the frequencies and the difference before and after is quite remarkable, well for my sound anyway. I know the crysonic stuff is not to everyone's tastes and the company itself is not very reliable. They make a decent plugin and then ruin it by completely changing it in the next update, but some of their stuff is really decent. I sometimes use the spectra C1 on the master bus, its similar to the ssl bus compressor but doesnt cost half as much. If you can get version 2 of the NXT anywhere you might want to check it out or even the newer ones. They have quite a few different algorithms as well for treating the various audio types. My original go to Air EQ was the voxengo harmoni EQ version 2 or voxengo curve EQ. Harmoni Eq let you boost up to 35khtz and like they said above most new stuff simply uses a new Gui with the same principle algorithms. The curve EQ version 2 had various impulse responses of tube gear, tapes, sonic enhancers as well as a vintage button that added air and warmth at the press of a button and its still my favourite EQ. The new version had all these features stripped away and is completely useless for it compared to the earlier version. I was looking forward to see how he would improve it but I was far from impressed, talk about if its not broke dont fix it. The 1973 stillwell EQ has a really nice and clean high freq boost, you can simply turn it up for instant top end without all the expected harshness you would find in a similar eqs trying to do the same. Best served on drum hits for me, you might like to try the full version demo

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HarBal.
http://www.har-bal.com/
Doesn't seem to get much love @ here, but I had a very old version and I really liked it.

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glokraw wrote:
extrabigmehdi wrote:
It's not a mix, I'm elaborating a dsp chain for pure listening enjoyment ,
and on headphones.
I have a favorites folder where the songs are all rendered with field recordings
of various oceans, creeks, winds, bird calls etc. Makes a nice change of pace.
Cheers
I'm not sure if you are kidding , but when from times to times I'm fed up of listening music, and I find nature sound very soothing. With much bigger dynamic range that you can find in any music (at least with quality recordings) . And if nature sounds fails to soothe, I switch to Merzbow and the album Venereology :D.


Back to the subject.
I tried :
* H82 with bigger frequency : I loose the "focused" effect, and I'm not sure it's less fatiguing.
* pultec ? took me a while to understand what's this, and after all , it's just an eq.
* NastyVCS : I gave up when I saw the nasty interface :D .
Where is the knob to excite a particular frequency, without all the crap :lol:
* Noveltech Character ? Took me a while to decide either it's interesting or not. First I noticed subtle pumping in the volume with some tracks,
and I've read the manual they seem to recommend it only when used on a particular instrument. So with the puzzling interface, and not so convincing presets I gave up.
* the bad feeling that "airy" is a marketing buzzword on other vst.
I hated the "warmifiers", so I guess it would be the same story.

Finally I built my own solution , using spl transient designer .
Basically, what I do is use msed to split channel into middle/ side.
Then for the middle channel, I use the frequency splitter "crossover".
Then finally for the high band I use the spl transient designer to decrease the sustain setting (very small amount, the value is -1, linking disabled ).
Now the order of operations have impact in result, that's why the chain is a bit more complicated. Also the frequency splitter is not completely transparent, so I redo it on the side , even if the split is not exploited.

The result : euphonic highs , and less "congested". I'm not sure it qualify as "airy" or focused, but it's enjoyable and enough subtle for general listening.


I hope I can post that pic:
Image

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