Way too many plugins and choices - Need advice to fight GAS/Huge plugin folder

[audiojunkie]

The trick for me is to determine exactly what you need and want to do. Then, figure out what the best tool for each job is for you. Get rid of everything else. You can keep looking and feeding your GAS, but only if you find a tool that does better a better job than the tool you you already have for that job--then, you replace the tool and get rid of the one you used to use. Only keep the tools you need for what you do. For me, I usually keep a couple of each type of tool, but you don't have to do that. You can get by fine with just one tool for each job.

For example, most every sound imaginable can be created using the following tools:

* An analog emulation synth (like Diva)
* An FM synth (like chipsynth OPS7)
* A Wavetable synth (like Serum 2)
* A granular synth (like Quanta 2)
* A quality sampler (like TAL-Sampler)

You could add a drum sampler (like Apisonic Audio Speedrum 2)

By using the above synths and layering techniques, you can create almost any sound available. You don't "need" more, unless you "want" more.

Then, you do the same with the effects and tools you need. Replace your synth or sampler when you find something that does a better job than the tool you already have for a particular job.

The other nice thing about this method, is that you'll get to know your tools well, and you'll know exactly what to reach for to get what you are wanting.

[_leras]

The miracle comes from you.

. In that case, I’ll scan my arsenal and often pick out something just because I’ve not used it in a while.

This probably will forever prevent me from having a signature sound, like many people have, but it suits me perfectly.

Which is it?

In reality I think very few artists 'signature' sound is derived directly from the gear and tools used.

In fact if a sound is too signature, I think it can lead to an amount of stagnation.. (Though there are some who have just seemingly gone deep exploring a particular sound that I also enjoy).

For me, I think the sound comes from the artist, and if they are able make the music they want to they will usually evolve but still be themselves.

Instruments and tools may shape the output, but the music should hopefully come from the individual, with tools being relatively interchangeable.

*as ever learning and exploring the instruments you have is important.

[_leras]

For the analysis paralysis I'd suggest a few things you can try:
-- Select the main things you will you for a set of tracks and mainly stick to it.
-- If that doesn't help, actually uninstall stuff you don't want to be tempted by.
-- Have sessions where you focus on trying instruments, exploring and making sounds to use later.

[pekbro]

I have around 2k plugins, but I am actually pretty good about using them. My collection
continues to expand.

Probably neglecting my HW though, since
I am lazy to set it all up.

That said, it’s not that hard to stop, I only
recently (last couple years) started buying
them again. Still spending more than $30
is not something I’m going to do easily these days.

[Kai Enaki]

I have around 2k plugins, but I am actually pretty good about using them. My collection
continues to expand.

I'm still waiting for you to set up a weekly newsletter about new plugins you encounter during a week. Like I need more reasons to buy plugins, right?

[pekbro]

I have around 2k plugins, but I am actually pretty good about using them. My collection
continues to expand.

I'm still waiting for you to set up a weekly newsletter about new plugins you encounter during a week. Like I need more reasons to buy plugins, right?

Heh if I was smart then I would do something like that. Sadly…

[enCiphered]

Define essential tools for a project, not for a lifetime.
Pick for each project a minimal set (say 3-5 plugins) that you will commit to exclusively for the current session. This might shift the focus from the plugin count to the creative output. When you begin a new piece, you initiate with a “sandbox set” and avoid opening new tools until after first draft is done.
That way the act of experimenting with new gear becomes a reward phase, not interfering with the generative flow.

Since you produce sound design-heavy music yourself, maintain a hidden folder (offline or external drive) of unused plugins or sample libraries that you bought but haven’t used. Label the date when you last touched them. Every 3-6 months revisit: if you still haven’t used them, then uninstall or sell/trade them (if possible). This keeps your active toolbox lean.

[Flowshi]

For example, most every sound imaginable can be created using the following tools:

* An analog emulation synth (like Diva)
* An FM synth (like chipsynth OPS7)
* A Wavetable synth (like Serum 2)
* A granular synth (like Quanta 2)
* A quality sampler (like TAL-Sampler)

The other nice thing about this method, is that you'll get to know your tools well, and you'll know exactly what to reach for to get what you are wanting.

I'm using this exact method (well, instead if granular I use a second analog emulation). It speeds up the process, you know your stuff, you know what to reach for, you can focus on creativity and you need to be creative with the stuff that's already there.

[Tj Shredder]

I am a hoarder as well, most tools I get are simply inspiring for me.
Do something like the OSC, to keep focused. Build a piece around a specific fx or instrument… Even if it’s used only once, it’s worth it for me. I never buy another comp, eq or other standard sound engineers tool. Mostly the stock of my DAW does such tasks as good as any other. If you are too much into subtleties of sound, better focus on composition instead…

[sandandpaint]

How many unused plugins are because your tastes in making music have changed and those plugins no longer fit. It's a few for me and I imagine I am far from alone in this.
Then there's plugins that seemed like they'd be useful but weren't. Might be honest mistake, might be sucked in by a deceptive marketing campaign (kontakt libraries can have outrageously deceptive marketing and no chance to try before you buy.)
or maybe you bought somethign to change things up, like getting a new guage set of strings for a guitar.

and then some because you got carried away and quickly regretted an attack of GAS. But not all now useless plugins are from that

Also 'making music' (ie completed pieces) is incredibly over-rated compared to 'having fun'. Realistically how many people like music you have completed enough to listen to say 20 minutes of it in a row on more than one occasion? If there is more than one then you are successful enough to keep doing / buying plugins as you have done coz it's working for you.

[pekbro]

For me it's primarily about effects, and has nothing to do with music at all really. It's mechanical, I like the design of things, the way they work and how they can be used, that's what drives my inspiration. A goto effect really has no meaning for me. The only end of it for me, is if I don't really want to pay the asking price for something, which happens a lot.

[BackInCheck]

I also noticed that I'm definitely much more productive with a chosen selection of plugins as opposed to installing everything I can get hold of.

Unfortunately I'm also a plugin hoarder and after a while GAS catches up with me again.

A "less is more" attitude can definitely help to avoid this trap. I think having too many plugins can definitely interfere with creativity. Preferable one has a tried and tested set of tools.

When you install a third party plugin you can ask yourself: does this actually add any value over my stock plugins or existing plugins?

There are people who own 10 different Neve 1073 emulations or SSL channelstrips with slight differences. If you like the channelstrip workflow, you could just stick with one that works for you.

So basically for every plugin category you choose to stick with one or two plugins (often the one that has an advantage in sound quality, stability and offers enough versatility / features to cover a wide range of scenarios, like Fab Pro-Q in terms of EQ).

Stability and longterm support by the developer are also huge factors for me. There are some companies (especially bigger ones) that don't maintain their product line very well, basically they abandon their products once on the market and don't fix bugs or ignore feature requests. Others (mostly smaller ones) are interacting a lot with their user base, offer updates regularly and even grant access to major new versions for free or at a very affordable update price.

You could also consider if you want to deal with Ilok, because often there are plugins with less intrusive copy protection that offer the exact same features. Some developers force the user to download their entire product line, just to use one or two plugins, which is also something that causes unnecessary clutter and steals your precious SSD real estate.

Ultimately it's a choice: do we want to be people who try out plugins or do we want to be creatives? Trying out new plugins is a fun, immediate reward activity with no outcome (unless you belong to the tiny minority of people who do this professionally, eg reviewers).

[Michael L]

I'm struggling a lot with the amount of choice I have for every task, and the amount of sound design processes I could possibly do, that it often detracts me from just...making music.

"Analysis paralysis describes a process where overanalyzing or overthinking a situation can cause forward motion or decision-making to become paralyzed, meaning that no solution or course of action is decided upon within a natural time frame. A situation may be deemed too complicated and a decision is never made, or made much too late, due to anxiety that a potentially larger problem may arise. A person may desire a perfect solution, but may fear making a decision that could result in error, while on the way to a better solution. Equally, a person may hold that a superior solution is a short step away, and stall in its endless pursuit, with no concept of diminishing returns."

https://en.wikipedia.org/wiki/Analysis_paralysis

Having too many plugins AND wanting the very most perfect advice to fight too many plugins can both result in analysis paralysis

[zerocrossing]

Define essential tools for a project, not for a lifetime.
Pick for each project a minimal set (say 3-5 plugins) that you will commit to exclusively for the current session. This might shift the focus from the plugin count to the creative output. When you begin a new piece, you initiate with a “sandbox set” and avoid opening new tools until after first draft is done.
That way the act of experimenting with new gear becomes a reward phase, not interfering with the generative flow.

Since you produce sound design-heavy music yourself, maintain a hidden folder (offline or external drive) of unused plugins or sample libraries that you bought but haven’t used. Label the date when you last touched them. Every 3-6 months revisit: if you still haven’t used them, then uninstall or sell/trade them (if possible). This keeps your active toolbox lean.

Good advice. This is basically how I go about doing things.

[dblock]

I have a template setup with the instruments I curated to be my most go-2 plugins. I don't delete or sell the rest. I remove the .dll from my vst3 folder and they go in my "removed plugins" folder so they don't get scanned. If I'm working on a cue and none of my favorites suit my need for that time I just take the .dll of the plugin I think might work and put it back in my vst3 folder.