VoS ThrillseekerLA mkII released - WIN freeware

[Lesha]

ThrillseekerLA is an optical stereo compressor optimized for gentle mix bus coloring. It combines smoothest optical compression with vibrant coloration options that deliver a unique box tone in their own right, including thrilling bass and elegant top end void of any harshness in the mids. Its compression not only glues things together effortlessly but also enhances the stereo image by increasing depth and dimension.

10 years after – new in version 2:

Technical redesign with advanced opto cell emulation
Simplified gainstaging including automatic output gain compensation
Streamlined coloring options: Interstage, Tube and Loudness
New compress/limit option and reworked sidechain filtering

The mkII update is available for Windows VST in 32 and 64bit as freeware.

https://varietyofsound.wordpress.com/20 ... -released/

[Halonmusic]

nice!

[zenvoxpop]

Wow, sounds really good, probably his best work so far
The tone coloring sounds extremely thick & rich for lack of better words, perfectly useable for subtle mastering/mixbus duties.

[robindrieghe]

why the automtic gain compensation?
i used this very creatively for distorted kicks, for me this is ruined

[jens]

why the automtic gain compensation?
i used this very creatively for distorted kicks, for me this is ruined

Huh?

[Halonmusic]

why the automtic gain compensation?
i used this very creatively for distorted kicks, for me this is ruined

use the old version then?

[robindrieghe]

why the automtic gain compensation?
i used this very creatively for distorted kicks, for me this is ruined

use the old version then?

sure, 32 bit stuff has got a great future ahead of it.

[whassup]

This plugin sucks...






...quite some smarsh outta stuph and puts some smooth and nice back in.
Me likey.

[jens]

why the automtic gain compensation?
i used this very creatively for distorted kicks, for me this is ruined

use the old version then?

I don't think there's a need for it - does anyone get what he's actually complaining about?

[Michey]

why the automtic gain compensation?
i used this very creatively for distorted kicks, for me this is ruined

use the old version then?

sure, 32 bit stuff has got a great future ahead of it.

They serve different purpose, I think. they might LOOK the same, but it seems the new version has a different topology (and not only regarding the auto-output compensation). the new version seem to be much more "polite" whilst being creamy.

So, if you want that ThrillseekerLA style spank, 32 to 64 containers (like Metaplugin) seem to be the only way nowadays.

This plugin sucks...
...quite some smarsh outta stuph and puts some smooth and nice back in.
Me likey.

Yoo gotta right sum plain ingleesh ther, sir - for as non-ingleesh speekerz.

Dis kinda remayds me of dis guy, Pual Terd... that I ken absolootlee not anderstend.
In one veedeoh of is, he ez takeing a peece of pay-per and sez : "peepel hev asked mee who ez dis Tehm Patreek" and hee rights de letterz T.I.M and repeet : "yoo see... it ez T...I...M - like : TEHM"

[Dormant]

Huh, what a great gift!

I really like plugins from VoS, I'm so glad they are available for free.

I'm not a pro producer, I'm not the type of guy who can listen to his mix and tell something like "well, I can clearly hear that X comp will not do the trick, but Y comp surely will". Usually I just throw things at stuff and then decide if I like it or not (or if I'm not sure lol).

For example, one day I used Density mk3 on mixbus in dense metal mix instead of mainstream ssl bus glue comp emulation just to test it. If I understand it right, Density mk3 has Vari-Mu design, which is "not the best choice for modern tones, etc" (to be honest, I can't even tell what so special about Vari-Mu design except tube colouring which can be achieved with followed saturator anyway). But know what? I liked it. It did it's job for gluing things.

So... I know I have some optical comps, some of them are free as well. But I believe this one will take a special place among them. VoS plugins never disappoint.

[robindrieghe]

why the automtic gain compensation?
i used this very creatively for distorted kicks, for me this is ruined

use the old version then?

I don't think there's a need for it - does anyone get what he's actually complaining about?

so basically what you say is both versions are the same?
then its time to get another hobby and/ or check your eyes and ears.
its not because you dont get it that there is nothing.
and now move on and stop quoting me.

[Halonmusic]

why the automtic gain compensation?
i used this very creatively for distorted kicks, for me this is ruined

use the old version then?

I don't think there's a need for it - does anyone get what he's actually complaining about?

have no idea tbh

[ampetrosillo]

Huh, what a great gift!

I really like plugins from VoS, I'm so glad they are available for free.

I'm not a pro producer, I'm not the type of guy who can listen to his mix and tell something like "well, I can clearly hear that X comp will not do the trick, but Y comp surely will". Usually I just throw things at stuff and then decide if I like it or not (or if I'm not sure lol).

For example, one day I used Density mk3 on mixbus in dense metal mix instead of mainstream ssl bus glue comp emulation just to test it. If I understand it right, Density mk3 has Vari-Mu design, which is "not the best choice for modern tones, etc" (to be honest, I can't even tell what so special about Vari-Mu design except tube colouring which can be achieved with followed saturator anyway). But know what? I liked it. It did it's job for gluing things.

So... I know I have some optical comps, some of them are free as well. But I believe this one will take a special place among them. VoS plugins never disappoint.

Look, even pro producers sometimes throw stuff at the mix and see what sticks. Also, historically, "feel" was almost never a primary consideration.

There are some different "feels" to each compression topology, true. For example, the idea is that a Vari-Mu design (which Density is, since it's basically an emulation of a Fairchild compressor) is a decently fast topology with a varying ratio over the threshold, and a kind of response that tends to be quite smooth, ie. with a large knee (but still allowing for faster attack times than, say, the usual lamp optical compressors, and with comparatively less aggression and distortion than a FET design). AFAIK Vari-Mu compressors are feedback compressors, so the response is not as fast and clinical as a feedforward compressor (and also, the ratio varies over the threshold quite a bit, so things get more squashed the louder they get over the threshold, which tended to make them good for old-style volume maximising; later on, VCA compressors were cleaner and more predictable so they became more reliable when it came to limiting). So, in essence, a Vari-Mu is a good general-purpose compressor that you can use with lots of stuff; on the other hand, other topologies were cheaper to build and design and/or made use of solid state technology, and sometimes had better characteristics, and also came out as cheaper competition to do the same kind of stuff. VCA compression is the most modern style and the one that tends to sound the cleanest, the most clinical (especially when feedforward) and the most flexible, which is why through the years many consoles moved to VCAs for compression (sometimes with digital control, such as certain Neve consoles, FMR's outboard stuff, etc. off the top of my head).

OK, I'm rambling now, but ultimately, Vari-Mu compressors fell out of favour because of the relative unpredictability and high cost, and when studios have budgets to keep to when planning their purchases (so basically *all* studios) having more compressors, even if they don't have that very same character, provides more control over a mix, therefore it's the most sensible choice. These topologies weren't just software emulations you could just add to tracks a-plenty, they were actual units that you had to assign to one track at a time, operate (and eventually service). Records were made with not a plethora of different preamps and like seven different consoles to choose from (or maybe the studio had seven different consoles but it would have been madness to use channels from each of the consoles for the same song). Don't sweat it, just focus on the song and use your ears. Actually, for metal, my first pick would generally be the cleanest digital compressors you have, since you have so much distortion all over the place that you don't really need to add any (and having good control is paramount, since you have essentially a wall of sound to work with), but at the same time if it sounds good, it sounds good.

[whassup]

This plugin sucks...
...quite some smarsh outta stuph and puts some smooth and nice back in.
Me likey.

Yoo gotta right sum plain ingleesh ther, sir - for as non-ingleesh speekerz.

Dis kinda remayds me of dis guy, Pual Terd... that I ken absolootlee not anderstend.
In one veedeoh of is, he ez takeing a peece of pay-per and sez : "peepel hev asked mee who ez dis Tehm Patreek" and hee rights de letterz T.I.M and repeet : "yoo see... it ez T...I...M - like : TEHM"

Dang, you got me on this. I play a lot with words and sometimes like to butcher some language for the fun of it. Do it with English and German, my motherz tongue. All else is pure coincidence.