I think everyone has a favourite mastering weapon, that last minute icing for the cake. For me, I'd say it's Venn's V-Clip. I don't use it for all projects, but when it comes to taming transients and smoothing out levels transparently, V-Clip is it. Its visualization alone is worth the price of admission. The fact that there's also oversampling makes it a winner, especially if you use V-Clip for its distortion and saturation abilities. Definitely a keeper.
DB-33 is great for a tonewheel organ VST with a correct set of controls and an amped tone cabinet. The CPU usage of DB-33 is as low as it gets with virtual instruments. All of the controls on the organ and the cabinet have MIDI learn... right click each control. You only have to load the organ to have both the organ and the cabinet active. Switching between the organ & cabinet interfaces is one click of labeled buttons. The slow/brake/fast lever is animated and works with MIDI cc 1 mod wheel by default. You can use the cabinet as a separate plugin. If it's producing some static with the tone, adjust the cabinet's [organ] knob along with [master] volume. [organ] usually ends up pointing straight up to 12:00 or maximum of 1:00 on mine. Master volume on both the organ and cabinet are the same control, so you don't have to manually match them. You can see it all in the demo version. I guess there is no standalone DB-33? There are ways to simulate it as a standalone organ though. Five of five stars.
This dev wasted my time. "Free as in free to create, not free as in free beer", you discover right as you're ready to download. I don't appreciate being insulted, and I don't appreciate lowlives' attempts to deceive me. KVR need to move this to the paid plugins section; this doesn't belong in the "free" section. "Free but not free as in free beer, just 'free to create'", I smell man-buns and confusion about which public restroom to use re the designers of this.
I have a hard time imagining that someone on a strict budget wouldn't feel that this free delay plugin goes well above and beyond. It is too kind of Sixth Sample to give this away for free, which could well be a $50 or $100 plugin. Sounds great, works great, and doesn't distract the eyes whatsoever. Thanks.
The Nembrini plugin version of this legendary amp the first one, which gave me - after having learned how to tame this "beast" and adjust it properly - a convincing impression, why an ODS really is so legendary.
Some sort of Blackface on Steroids, I would say.
After having tested the plugin, I first was a little disappointed, until I found out that this plugin is not the sort of "You press the button(s), we do the rest!" plugin, some controls need to be adjusted properly, but if you do it, you can get a lot of really excellent, also very differently sounding tones.
My PAF-Humbuckers obviously already had been too hot for the default setting, so I had to reduce Input and Output a lot, so that the signal levels did not start to distort. Concerning these controls here less definitely seems to be more, but afterwards the "sonic sun" was starting to rise.
The basic tones are very American / Fender voiced, nice, very transparent, open, fresh, dynamically reacting tones with really a lot of treble, but also enough mids and bass, if you need them.
I personally found a proper treble adjustment essential for really good tones, as the amp can offer more treble reserves than you most probably will ever need. Also the microphone, speaker, cabinet selection affects the tone - in my impression - much more than usual.
The Overdrive itself sounds nicely harmonious, American voiced, but - depending on the individual gain and tone settings you can change this basic character also to a more dirty, rougher sounding one, even more if you deactivate the tone stack. Nevertheless you will not completely reach this typical British brutality and aggressive tone, also because of the existing mid-scoop, but you can come a little closer.
What makes the difference to a lot of other amps are the incredibly intense, vivid harmonics, which here have their own, unique character, different to the harmonics from modern high-gain amps or Marshalls, the overdrive is a typical, but intensely beefed up vintage overdrive with a sweet and at the same time really biting tone, intense treble and a lot of sustain, but without ever sounding too flat or over-compressed, quite the opposite.
The clean sounds are equally good (of course), also very flexible adjustable, the Clean channel alone is capable of producing a nice vintage overdrive, so you also can not only adjust a good clean but also alternatively an excellent crunchy rhythm sound and a more intense overdrive lead sound and do the rest with guitar volume. The possible combinations of Volume (first gain stage) and Lead (second gain stage) allow a lot of different tones.
Certainly not the perfect amp for modern Metal or really heavy stuff, but most probably for almost everything else. For me the typical SRV, Carlton, Ritenour, Ford, Sayce tone, which even alone sounds great, without any additional pedals or reverb.
Interesting speaker/cabinet selection. For me the 15" Faceman / JBL became the best choice, buat also the Vox / Fane combinations sounds very good, only completely different. If using external IR's, I found that alnico Creams or Rubys as well as Creambacks do a good job, but also an ET65 or ET90 harmonize well with this amp / plugin, maybe even better than Celestions, as they add some nice, decent compression and sweeten treble a little.
For me personally most probably the most convincingly sounding and working simulation of this legendary amp.
But - it needs more proper adjustment, especially concerning Treble, Presence, Input and Output, as much as the right cabinet/speaker/microphone combination, to find the really great sounding sweet spots.
Superb rich analog sound all in a one page interface that is well laid out and easily understandable that comes with a plethora of varying sounds already to go. I think one of the things that drew me to it after checking out the demo is the filter depth and the sound character. Even if it's just a one page interface the sound character is still important and it would be the same if it was an IRL synth. For me there would be 3 important queues to think about, what kinds of interesting sounds can it produce, how well you can navigate through the controls, and how that control interface influences how well you can create new sounds or edit the ones already present. These features are all present.
I am not sure if this project is done or in Progress, but i see potional in this Synth...
it is a nice, little, easy, rough and cool Freeware Synth, there is a "don't know special classic" synthesis happening, with FM, Ringmod and such Algorithms for 2 OSC's with Basic Waveshapes incl. Noise on OSC 1.
The most fun is the randomization .
Selfoscillating Filters are pretty cool but also very simple, just 3 Types (LP, BP, HP). I like the Parameter edit per Mouswheel and double-click for Resets Knobs. The Algorithms (FM, WF (Wavefolder?), Ringmod) is affecting a bit too decent. The Volume-Knob there, is that not (should it not better be) a MIX-Knob into original signal path? Because its irritating this Volume Knob works like a Master Volume also, but why in this Section? The Wave Window is mostly over the Limits.
Interessting, if booth OSC Volume is OFF then Ringmod still works (like Hardware right?). WF Dist seems not work correctly in this previous mentioned case it acts like a switch in the full open position, so iam not sure about it.
But here is List i want to see:
Version/ Build Number in the Plugin.
Show Parameter Values in LFO (Hz and sync).
Better Presets Management and Browser.
Save as (selected) and Save as New (always new).
Intesity Fader vor the Wave FRQ Preview.
If an OSC is off, lets us show that it is off (like fade out orange lines if OCS 2 Volume is zero).
Put the FX in one Row.
Allow us FX routing (Reverb before Delay).
More Modulations would be nice.
OSC 1 has NOISE but, we want to modify this Noise (i think we want this, i am not sure).
As a plug in developer, I am very glad to hear all these suggestions. I am aware of what is missing from 2RuleSynth. Your suggestions are very helpful and true. I was already thinking about what I could change these days. Dealing with audio algorithm is much easier than dealing with GUI, from my point of view. Layout organization is the most time consuming thing in GUI for me. I will work on your suggestions. Thank you very much.Tuğrul (2Rule).
First, the good: Transition is fairly unique in what it does - create random notes based on several parameters you can set such as scale, octaves, frequency, etc. Further manipulation by utilizing creative tools in the activity pad area ensures whatever Transition comes up with is very original. Already, I've created 25-minute ambient tracks as well as one long 50-minute opus with it and it sounded good.
And now, the bad: For some reason, and I can't contact CodeFN42 to find out why, you can't load more than one instance of Transition in Cubase or Studio One. I'm guessing this is the same with other DAWs although I haven't tried. When you do attempt it, the DAWs either lock up or shut down right away, thus my intended goal to set up one Transition in 1/4 time and the other in 1/8 or 1/16 is never achieved.
Common sense would suggest that I'm trying to force the DAWs to use multiple clock rates which they can't do, but using CodeFN42's own RandARP in multiple instances with different timings does work, so it must be a Transition bug. Like I'd said before, I couldn't reach the dev about a solution. Anyway, I can always record one track of 1/4 Transition then go back and create a 1/16 take. It's just be nice to have two or more of them going at the same time to make sure what was being concocted makes musical sense.