2CAudio B2: Full Body. Maximum Attitude.

[Breeze]

One of the nicest things I've heard on this site. Thanks for sharing, Simon.

[Sampleconstruct]

Thanks guys, indeed, real performers playing your music, then returning to your sample libraries for mockups, can be quite disillusioning, then you work hard to get another chance....

[Andrew Souter]

B2 on piano again:

https://soundcloud.com/andrew_souter/an ... -river-m01


Lately I have been using very dense settings (Using XTRM mode for both A and B engines, and using Cascade, and using high density) for solo piano....

[Andrew Souter]

Well our good friend Blakus just outdid me and raised the bar many, many steps:

https://soundcloud.com/blakus-mfm/armie ... 3-campaign

Holy S**t!!

In his words:

I am a massive fan of B2, to the point where it is my sole reverb! I thought I'd let you know it is the only verb I used on a recent placement for the Hobbit 3 campaign. Thanks for all your hard work!

There are tons of examples like this, but it is quite rare that I can actually talk about them. Deep thanks to Blakus for letting me share this!

Deeply humbling and inspiring...

[Cinebient]

Wow... such a great tool!
I stumbled over B2 via an iOS related music forum (Audiobus) and someone praised it to highs! What can i say, i´m still new to a desktop workflow but i demoed a ton of tools and was searching for a high end reverb with that little extra for a good value since i´m no pro and have to think twice about spend money on plug ins. All i can say is after a few days (and weeks with demo of B2.... and Aether) that i never loved a tool so much. Thank you for this amazing piece of art! Worth every penny, especially with the winter sale.

This is my first track where i finally was able to get this warm and vibrant space sound which i was searching for. I only use here one sound source from Zebra2 and three sound sources from Dune2. B2 "morphed" it into another Galaxy ; ) I love this thing so much and will create a bunch of presets for sure. I especially love the FX options B2 gave me!

https://soundcloud.com/cinebient/the-crystal-planet

A great 2015 to everyone and i can´t wait for the new 2c product!

[Andrew Souter]

Wow... such a great tool! ...
Thank you for this amazing piece of art! Worth every penny, especially with the winter sale.

Thanks kindly for the compliments...

Wonderful peice of art you have created. I wonder if we could add it to the B2 demos? We simply add your sound-cloud listing to the B2 playlist and then it will show up in the B2 demos on our site and on our sound-cloud page. Cool?

A great 2015 to everyone and i can´t wait for the new 2c product!

Thanks. Me too. After 370 or so builds over three years, I guess we are about ready.

I'm pretty sure you will love it. And don't worry it does not compete with our verbs. It compliments them perfectly actually...

[Cinebient]

Great to hear.... that's very cool!!!

When i bought B2 on sale a few days ago does that mean i could buy now also Aether for 125$ ? After playing with them booth a lot i know that they are totally different beasts. In general i like B2 much more but there is one thing in Aether which i miss in B2. B2 has in general "harder" attacks in the LR phase. I tryed to get such smooth things in B2. It's possible but not so easy I just wish i also could recreate the preset "Pad Thai" in B2. I came near while trying it but not close enough. This and 3-4 other presets i would miss maybe (and of course the option to make them myself). B2 wins hands down when it comes to hyper huge spartiation with a immersive feel of depth but Aether has a bit more ethereal magic. Now i know why it was called Aether!
But i also wanted to wait for your new product as well to save some bucks for.... whatever. But when it's no verb i'm even more interested . I make often rythms and melodies just via rythmic FX and such things.

So all the best to the next big thing. I just saw that 2C is just 2 guys? That's impressive! Also your website is one of the best laid out i ever saw. Support is great too. I had to say it. Normally i'm a harsh critic person and hold me back in forums but i really appreciate such great tools for a good price (yes for me it's a good price and developers have to live too).
Enough said.... back to creating some music!

[Andrew Souter]

Great to hear.... that's very cool!!!

When i bought B2 on sale a few days ago does that mean i could buy now also Aether for 125$ ?

Yes.

And/or you could upgrade to PS 2.5. Since you just got a product during the promo, if you would prefer to have the full PS 2.5 bundle, I can offer you just the current difference in price between the two.

After playing with them booth a lot i know that they are totally different beasts. In general i like B2 much more but there is one thing in Aether which i miss in B2. B2 has in general "harder" attacks in the LR phase. I tryed to get such smooth things in B2. It's possible but not so easy I just wish i also could recreate the preset "Pad Thai" in B2. I came near while trying it but not close enough. This and 3-4 other presets i would miss maybe (and of course the option to make them myself). B2 wins hands down when it comes to hyper huge spartiation with a immersive feel of depth but Aether has a bit more ethereal magic. Now i know why it was called Aether!

Your analysis is pretty accurate: Aether LRs (by themselves without the help of Cascade) can do longer/slower attacks, and/but B2 generally can have a greater sense of depth (the best on the market in this area IMHO...)

The way to do something like this (long attack) with B2 is all/any of the following:

a) Cascade A into B using cascade 100% and Balance 100%. Now you have two engines fully in serial.

b) Use contour with Ramp, Exp, or Bell Contour shapes to shape the attack characteristics

c) Try using large Density values: 50-100%

d) Try using the new (B2 1.2.0) EQ Damp filter choices: Air I, Air 2, AP 4, etc and set the both filter parameters to 50-100%...

But i also wanted to wait for your new product as well to save some bucks for.... whatever. But when it's no verb i'm even more interested . I make often rythms and melodies just via rythmic FX and such things.

ya, you'll love it...

I listened to several of your tracks on SC while writing some emails. Very nice stuff!

So all the best to the next big thing. I just saw that 2C is just 2 guys? That's impressive! Also your website is one of the best laid out i ever saw. Support is great too. I had to say it. Normally i'm a harsh critic person and hold me back in forums but i really appreciate such great tools for a good price (yes for me it's a good price and developers have to live too).
Enough said.... back to creating some music!

Thanks. Yes only me and Denis from 2008 up to now. Probably 3 starting in 2015.

Thanks re the web. I have a great team that I contract to do the infrastructure and general layout, and I do all the content/writing, and micro manage the graphic design. Next on the agenda is to redo the web store. We could handle non-paid product updates in a little more intuitive fashion. The current method, of going through the web store even for updates, admittedly confuses some people.

But even if I am reasonably skilled at the web/marketing stuff, I ALWAYS want to remain PRODUCT focused. We spend disproportionately HUGE amounts of time on tiny perfectionist details at OCD levels of obsessiveness when it comes to our products. Our focus is and always will be: product, product product. My design philosophy is that I try to design tools that are powerfully inspirational artistically, while at the same time enforcing rigorous standards of scientific/technical/numerical precision. I strive to get as close to mathematical perfection as possible, and try to design our products as if I was designing some kind of mission critical interstellar vehicle for NASA -- where the lives of astronauts depend on our accuracy. Do our verbs really need to be perfectly clean down to -160dB or so for "only musical purposes"? Perhaps not, but it comforts me to know we have done something as perfectly as the current state of the art allows. Music in ancient times was considered a science -- a sacred science even, together with astronomy and mathematics. This is how I personally still think about it today. Music is much more important than being a tool to help sell vodka in a club somewhere or encourage people dumb themselves down. Music is meant to inspire and help raise people up. Music is the bridge between art and science. We take our art as seriously as a scientific endeavor, and we consider our science to be a divine art.

We are quite excited to start 2015 with 3 people so that our development schedules can accelerate and we can bring you even more great tools. We are not even close to being done. What comes next will blow a lot of minds I think... "we'll see" said the zen master.

[Cinebient]

Thank you for the tips!
I bought B2 and one of the exp packs. You said i could still upgrade to PS 2.5? I'm def. interested in this offer!! Not sure now about how much we talking to upgrade to this full package....

[Andrew Souter]

Thank you for the tips!
I bought B2 and one of the exp packs. You said i could still upgrade to PS 2.5? I'm def. interested in this offer!! Not sure now about how much we talking to upgrade to this full package....

During the holiday promo, you, and anyone else who purchased any of our products this month and would like to have the full PS 2.5 bundle instead can just pay the difference in price between what they paid and the full bundle. So $350 - whatever you already paid. Good until the end of the year and maybe a couple days into Jan. Only for new orders that were just made since Dec 01, 2014. I.e. if you just purchased, we will grant you a grace period to switch to the full bundle.

[Cinebient]

Thank's! Now all is clear. Have to ask the boss (my Mrs.)

[Andrew Souter]

Thank's! Now all is clear. Have to ask the boss (my Mrs.)

Wise man.

[JenniferKinney]

Galbanum,

How can I turn off all ER's, while leaving the tail intact, in a single-engine preset? I'm wanting to try this on orchestral samples recorded in a large scoring stage. I'm hoping to maintain the character of the natural scoring-stage ER's captured in the samples, while adding artificial tail.

I'm also wondering if you can recommend B2 presets or settings to simulate the Bricasti "Boston Hall A" preset with Bricasti's "Reverb Time" set to 1.8 seconds? I see this Bricasti configuration applied to CineStrings, at 1:57 in this video from CineSamples:



For comparison, the unprocessed audio (no added reverb) is 1:36 in the video:



I'd be happy to get a similar sound using B2 on CineStrings, if I knew how.

Thanks.

[Andrew Souter]

Galbanum,
How can I turn off all ER's, while leaving the tail intact, in a single-engine preset? I'm wanting to try this on orchestral samples recorded in a large scoring stage. I'm hoping to maintain the character of the natural scoring-stage ER's captured in the samples, while adding artificial tail.

Well, Unlike Aether, B2 does not technically have a separate ER and LR engine. It has two identical engines which can effectively either be thought of as "ER" or "ER + LR" depending on if time/feedback is enabled or not. Basically an engine in B2 will produce a series of delays that increases rapidly in density as time passes in the Impulse Response. It is never really completely possible to get rid of the of the initial delays.

However Early Reflections are names this way for two reasons:

1) They are Early: they tend to happen in the first 0 to 100 milliseconds or so in the impulse response

2) They are Reflections: individual and isolated delay "taps" can be seen in an Impulse Response and in some cases heard.

So to minimize the perception of Early Reflections we can try two things:

1) We can undo their "Earliness" by using additional pre-delay to shift the entire impulse response later in time so that the dry (or existing wet/dry mix containing natural room ambiance) source sound is better exposed.

2) We can make the start of the Impulse response more dense, so that it starts almost instantly like some form of very dense statistical noise. i.e. there will not be any isolated delay taps i.e. we convert "Reflections" into statistical noise. To accomplish this we can do things like applying All Pass filters somewhere in the alg. This can be done with B2 by using Positive Density values, and/or using the Air Filter Choices, and or the AP M filters. Additionally you can try to use Contour with negative slopes to get a slower attack.

If you are not limited to using only one engine, cascading one engine into another can also achieve these goals.

I am not in this studio this weekend (spending time with my family for the holiday) but I will try to upload some examples when I get back in a day or two.

I'm also wondering if you can recommend B2 presets or settings to simulate the Bricasti "Boston Hall A" preset with Bricasti's "Reverb Time" set to 1.8 seconds? I see this Bricasti configuration applied to CineStrings, at 1:57 in this video from CineSamples:



I'd be happy to get a similar sound using B2 on CineStrings, if I knew how.

Thanks.

Believe it or not, I have no experience with ever hearing a Bricasti unit in real life. I would not claim to be able to recreate any aspect of its sound since I have never heard it personally and I really don't know much about its algorithm. I have briefly looked at a few of the impulse libraries of this unit once or twice, and I have some general ideas about how it does some of what it does, but we really prefer not to try to reverse engineer anyone else's work.

That said when I get back to the studio I will take a listen to audio example, and see if I can make some general observations about the type of preset in B2 that might get a somewhat similar sound...

[JenniferKinney]

Galbanum,
How can I turn off all ER's, while leaving the tail intact, in a single-engine preset? I'm wanting to try this on orchestral samples recorded in a large scoring stage. I'm hoping to maintain the character of the natural scoring-stage ER's captured in the samples, while adding artificial tail.

Well, Unlike Aether, B2 does not technically have a separate ER and LR engine. It has two identical engines which can effectively either be thought of as "ER" or "ER + LR" depending on if time/feedback is enabled or not. Basically an engine in B2 will produce a series of delays that increases rapidly in density as time passes in the Impulse Response. It is never really completely possible to get rid of the of the initial delays.

However Early Reflections are names this way for two reasons:

1) They are Early: they tend to happen in the first 0 to 100 milliseconds or so in the impulse response

2) They are Reflections: individual and isolated delay "taps" can be seen in an Impulse Response and in some cases heard.

So to minimize the perception of Early Reflections we can try two things:

1) We can undo their "Earliness" by using additional pre-delay to shift the entire impulse response later in time so that the dry (or existing wet/dry mix containing natural room ambiance) source sound is better exposed.

2) We can make the start of the Impulse response more dense, so that it starts almost instantly like some form of very dense statistical noise. i.e. there will not be any isolated delay taps i.e. we convert "Reflections" into statistical noise. To accomplish this we can do things like applying All Pass filters somewhere in the alg. This can be done with B2 by using Positive Density values, and/or using the Air Filter Choices, and or the AP M filters. Additionally you can try to use Contour with negative slopes to get a slower attack.

If you are not limited to using only one engine, cascading one engine into another can also achieve these goals.

I am not in this studio this weekend (spending time with my family for the holiday) but I will try to upload some examples when I get back in a day or two.

I'm also wondering if you can recommend B2 presets or settings to simulate the Bricasti "Boston Hall A" preset with Bricasti's "Reverb Time" set to 1.8 seconds? I see this Bricasti configuration applied to CineStrings, at 1:57 in this video from CineSamples:



I'd be happy to get a similar sound using B2 on CineStrings, if I knew how.

Thanks.

Believe it or not, I have no experience with ever hearing a Bricasti unit in real life. I would not claim to be able to recreate any aspect of its sound since I have never heard it personally and I really don't know much about its algorithm. I have briefly looked at a few of the impulse libraries of this unit once or twice, and I have some general ideas about how it does some of what it does, but we really prefer not to try to reverse engineer anyone else's work.

That said when I get back to the studio I will take a listen to audio example, and see if I can make some general observations about the type of preset in B2 that might get a somewhat similar sound...

Thanks for the advice above.

I'm in no hurry, so I'll appreciate any feedback after you hear the CineStrings/Bricasti demo, at your convenience. If it reminds you of any B2 presets or techniques, that would be great. If it doesn't, I'm still getting plenty of use out of B2. Thanks.