Magneto vs. PSP Vintage Warmer

[Killvehicle]

----On paper they are essentially the same kind of thing, while Magneto has fewer controls. I'm not convinced about "analog warmers", or "exciters" of any kind myself, so I probably shouldn't add any opinion to this post.

Jeff

Isn't Magneto 'Cubase only' ? Or does it come as a seperate vst as well?

Cubase ONly and not only that but it is not even useable in Wavelab for example

Damn you're fast! You just beat the 2 minute reply!

I'm pretty sure that my SX 2 has magneto, but I've used VW for some tape sat stuff, never tried the Magneto. Of course Magneto wouldn't do much good when I'm using T2, Podium or eXT.

I just sit and watch the same thread and hit refresh every 10 seconds. No one else is doing this??
ANd yes SX 2 has magneto.

[iain_morland]

PSP mix saturator is actually closer to magneto's function than vintagewarmer (which does rather more...perhaps too much for some purposes).

[safeaim]

If I don't remember reading wrong, then Mix Saturator is just a sort of cut-down version of VintageWarmer, or at least use some of the same saturation-algorithms

[Martin E]

I've got Cubase sx2 (never bothered about sx3) and used magneto for a while.It all depends on what you want to achieve though. I used to use it in a mastering chain but since I've purchased Spectralive by Crysonic I don't need magneto nor any warmifier.

[danielmm]

----On paper they are essentially the same kind of thing, while Magneto has fewer controls. I'm not convinced about "analog warmers", or "exciters" of any kind myself, so I probably shouldn't add any opinion to this post.

Jeff

Isn't Magneto 'Cubase only' ? Or does it come as a seperate vst as well?

Cubase ONly and not only that but it is not even useable in Wavelab for example

thanks for all the replies....actually, i used Magneto in Wavelab today...I find it works great as a subtle effect. I have tried VW and liked it very much however I can't drop more money on things that I have either close to or virtually the same thing...that's why I asked the question in the first place.

dano

[Sickle]

Vinyl has a good tape saturation algo in it, I think..Just disable all the noise stuff and check it out.

[krank]

Vinyl has a good tape saturation algo in it, I think..Just disable all the noise stuff and check it out.

Vinyl?

[Doug1]

They are both high quality plugs.
I used magneto yesterday on an amazing sounding tune in the mastering process.
I think highly of magneto.
I seem to use it more than psp.

[Alan]

they both suck.

I suppose digital distortion does have it's place,somwhere.

[bugs]

In a digital environment it is often desirable to add a certain amount of distortion to "warm" the sound. The opposite is often the case in the analogue enviroment where it's a often a question of cleaning up the sound--reducing distortion. These plugs (VW, Magneto, SpectraLive, etc) are very useful in the digital environment.

The best? It depends on your taste and the nature of the sonic material that they are processing. For example, vinatge Warmer can really bring together the sound of a smll ensemble like a string quartet, but muddy denser textures like orchestral-like sounds.

[egbert]

Vintage Warmer does great things on electric piano samples and simulations and on Hammond sims too. In one plugin you get some level control and some very useful colouration.

I no longer use it as a compressor or limiter on full mixes - too muddy on a full mix with drums etc - but for helping things like the aforementioned EPs and Hammonds sit in a mix it is still probably my favorite.

I usually use it in multiband mode and depending on how much compression and colour you want you can simply adjust the knee and drive controls.

PSP Mix Saturator predates the warmer and is a nice plug too.

[Krakatau]

For example, vintage Warmer can really bring together the sound of a small ensemble like a string quartet, but muddy denser textures like orchestral-like sounds.

This is what you experienced ?

That's amazing for me because i tried from scratch to use VW on compositions ( audioinstruments + MIDI intr + very few audio tracks ) heavily orchestrated ( from 30 to 50 "all kind" tracks ) and the few posts i've made on the music cafe had in general quite positive feedbacks about production's quality

Don't get me wrong if ever : for my guidance it would be very instructive to hear somebody that reached sensible results in his productions by a completely opposite approach ... this is the point !

[bugs]

On heavily orchestra projects, I tend to use warming judiciously on inidividual tracks, but not much on the whole mix as too much introduces something of a blurring and jamming effect (especially the area of amplitude--a small ensemble where things are in tune will sound louder than a larger ensemble where there are intonation problems, then more compression is needed, thus flattening the dynamic range of the output) as well as the desired distortion, especially on complex textures. I would rather not introduce this then try to correct it with excitation or something in the mastering stage. On small ensembles this blurring exhibits itself as shading and softens the distinction between instruments without them loosing their individual character. In a large ensemble, trying to distinguish between instruments should not be made more difficult. (This not the same thing achieved through doubling (stacking/layering in EM parlance, which really is more sound design.) Basically, we are talking the application of basic orchestrational technique (in large measure color management) to the application of effects processing (also in large measure color management). Correction is really the domain of EQ rather than the introduction of distortion and once again on a track by track basis. This not to say that I wouldn't use something like Magneto in the mastering chain, but I think it needs to be use very judiciously, especially on mixes with a large variety of colors. Just my approach and I usually achieve the sound I want. I sure other have a whole different approach to the sound they want. With ensembles you are constantly having to make compromises between clarity of indivuation and the composite sound.

No single solution applies across the board. And more importantly, I don't think there is a paradigm. The incorporation of sound processing as an intregal part of the composition process is something relative new, especially in the degree of control now available.

[egbert]

That's amazing for me because i tried from scratch to use VW on compositions ( audioinstruments + MIDI intr + very few audio tracks ) heavily orchestrated ( from 30 to 50 "all kind" tracks ) and the few posts i've made on the music cafe had in general quite positive feedbacks about production's quality

Have you tried PSPs Master Comp for this sort of application?

[dxl]

IMO if you want saturation or warmming effect, they both are not good but bad either
in software relaim, Sony Inflantor or UAD-1 collection would in most cases have better warmming coloring effect. i havent tried out SPECTRALIVE so... donno...
having a SPL tube vitalizer as a send effect ....

if you have a decent multi in/out interface. sending signals to "decent tube preamps/compressors" and route back would be something worth a try in every projects~
but sometimes it just gets too confusing to my little brain, so i tend to just get the best possible patches/samples/recording sorces beofre adding addition effects but for those smarties, it wont be a problem!