Monthly Archives: October 2012

Loopmasters Has New Stuffs!!!

As a huge fan of Loopmasters and their sister site Plugin Boutique, it is always huge news when they drop something new on us. Earlier in the week Plugin Boutique announced iZotope‘s Stutter Edit had become available. Now Loopmasters has, “Patchworx.” It’s a line of patches and presets specifically for the soft-synths we have come to cherish almost as much as their hardware ancestors. Here is their link for some free presets!

Loopmasters Patchworx

Link to Loopmasters Patchworx

And if you’re like me, you can’t get enough free VST plugins! Here is Plugin Boutique’s latest press release.

Pluginboutique.com Launch new Free Plugins Area!

Pluginboutique.com, Loopmasters sister website dedicated to selling music software and plugins online has just released a brand new custom area dedicated to sourcing the best free plugins for producers worldwide!

Featuring all types of plugins including Bit Crushers, Chorus, Delay, Filters, Distortion, EQ, Drum Machines, Flangers, Gates, Limiters, Phasers, Modulators, Synths, Mastering plugins and much more including charts to show you the most downloaded and top rated.

Once you are signed up at the site you simply select the plugins you want and they are added to your account to download, and whats more you will also be notified when any of them are updated so you always have the most current versions of them on your computer. If you have the time you can also rate the plugins on a variety of merits in order to help fellow producers choose the best plugins for themselves.

Currently the new free area has plugins from companies including Inear Display, 7air Media, Vladgsound, Distorque, Sinevibes, Melda, Variety of Sound, Softrave, Blue Cat Audio, Minimal System Instruments, GTG Synths and many more.

http://www.pluginboutique.com/free is your new url for free plugins online – check out the new site today!

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Compressors II


This article is copied via http://www.alpha-phase.com/ courtesy of Fraser Murray (@PhrasorOfficial). Thanks Phrasor for all the great compression lessons!

– Differences between analogue and Digital compressors.
– Lookahead & Sidechaining
– Limiting and compression
– Cool tricks!

Continuing on from my last post on compression, this one will look into the reasons to use the super-fast digital compressors and when to use the more gentle, warmer analogue versions. Both statements there are sweeping, take them with a pinch of salt.

Anything made in the real world i.e (not a plugin) will have discrete circuitry within it, which will color the sound to varying amounts depending on the design principle of the particular compressor.

Compression can be achieved in a number of ways. You can compress the top peaks of the sound, bringing the maximum volume down. This is “downward compression”

The opposite to this is achieved via “Parallel Compression” which is worthy of a post all of it’s own. The way parallel reduces dynamic range is from the bottom up, making it “Upward Compression”

Most compressors will offer differing modes which hint at what the compressor is to used for.

RMS (Average-sensing)
FET (Peak-sensing)
Opto (light-sensing)

RMS sensing compressors are the most common. They have the option of reacting fairly quickly if they are programmed correctly, whilst retaining the ability to be “invisible” at lower levels of compression. They pump less than Peak sensing compressors, but more than Opto compressors. Due to the utility of RMS compressors these are the “go-to” compressors in most engineer’s sonic arsenal.

Peak sensing compressors act fast. Very fast. These compressors are used where catching transients is of utmost importance. One might use this type of compression for catching loud transients on a vocal recording, fixing sibilance or smashing a snare drum hard.
Peak Limiters are also Peak sensing, hence the name.

Optoelectronic devices react to light by increasing or decreasing resistance, depending on how bright a lamp within the item is.
This brings inertia, non-linearity and pseudo-randomness to whatever it is being applied to. In our case, Opto compressors.

Due to the non linearity of the system, the “Attack” and “Release” parameters are much less accurate, and used more as a guideline. Opto compressors are generally incapable of very high ratios or quick attack times, so not too helpful for individuals drums etc.
Where opto-electronic compressors really shine, however, is being used on more delicate sources. Across the bus for a whole drum or vocal mix perhaps. I use them on plucked synth sounds to really round out the sound. The non-linear way that optoelectronic compressors work is similar to how the ear perceives volume differences, which makes the compression sound extremely natural and open.


New Production Tutorials Page!

So I’ve started doing a few audio production tutorials here and there. If people seem to like it, or if it seems like my tutorials are helpful to people then I will keep making them too! I want to try to give back to the community that has given me so much recently. There aren’t any other people on the internet quite like audio producers!

Speaking of producers; my friend Fraser Murray has his own blog over at http://alpha-phase.com/ where he’s got some great bits. Oh AND he will soon be adding my tutorials to his page! Go over there and encourage him to get his Podcast started, of which I am on the list to be a guest. So we need all the help we can get. Like the pages, share the posts, comment on the vids! You help this content get to the people who need to see it. I scoured the internet looking for answers about sidechaining with 3rd party VSTs in Ableton. Most places were people on forums saying it wasn’t possible and that you were stuck using Ableton’s native compressor. (Which is a great compressor too!) I knew this couldn’t be the case and so I pressed on. Eventually I found it… buried comfortable amidst a list of search results for “Multiband Compression”, a different subject entirely. I will provide a link to the original tutorial on my tutorial page for Sidechaining 3rd Party VSTs. I want it to be easier for people like you and me to find this kind of information presented in a way that makes it easy to understand if you’re following along. At any rate, I did find the information and it’s to those people that I want to say, “Big Ups!” and give back some of their awesomeness!

Production Tutorials Page!