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Comments
If we're going to wander a bit from the "Amp Sims" to technical excellence... I recently have grown to love the usefulness of DDMF's NYCompressor App. I have several of their Apps but this one has solved so many "gain" issues for me. Both as a booster and a limiter... I haven't yet learned to use their EQ's but something tells me there's gold there if I just learned to listen better to the subtle changes being applied with those knobs in the other 4 Apps in the $18 bundle. Can anyone slip me some clues on this point? When does "Directional EQ" come into play for example in the mixing process?
@McD
Directional EQ is simply something that enables you to target both frequency range and stereo position. It's more of a problem solver but can also be used for things like stereo widening e.g. strings or pads can be enhanced by boosting the frequencies in a targeted manner - in a typical scenario you only boost the higher frequencies at the wider extremes of the stereo field. This can help those strings/pads to cut through the mix without them being fatiguing.
I have other plugins for this kind on the stuff on the desktop (Nugen are particular favourites).
The problem with products of this nature is that they can introduce phase cancellation issues so always constantly A/B to ensure you're not making a mess.
I don't own Directional EQ so I can't comment on how well it works specifically.
I went with the DDMF bundled figuring 5 solid FX AU Apps at $3.75 each is a great bargain.
NYCompressor just keeps solving problems for me that I was solving with Amazing Noises "Limiter - Audio Processor" for $3. "Limiter" is great for adding high levels of saturation which DDMF won't provide.
Cool. I'm a sucker for this audio tricks to create a bit of hyper-realism to IOS instruments...
like extreme reverbs and stereo imaging tricks like shifting Haas FX. I wonder if I could tie some of the knobs to ApeMatrix LFO's. I've been looking for a use case to play with AU Parameter Automations and maybe this would be a good tool for that lab experiment to make the stereo swirl to the MIDI Clock.
Any tips for "No Limits", "6144 EQ" or "Envelope" use cases?
@McD
I only own 6144 EQ out of that bunch. It's quite unique on iOS in that it includes subtle saturation which makes it particularly good when boosting high frequencies. Digital EQ's have a well-earned reputation of being harsh and brittle on the upper frequencies and the 6144 works better in this regard due to it's oversampling and saturation.
It also features proportional Q (resonance) which starts gently for low boosts/cuts but gets steeper the higher the dB boost/attenuation. The real difference of the design is that this proportional Q is also on the low and high shelving filters (not just the low-mid and high-mid parametric filters), and similar to a Pultec EQ when you boost it automatically attenuates (the attenuation control is manual on a Pultec). This boost and attenuation on the low shelf filter make the 6144 a good EQ for bass too. Klevgrand's GoTo EQ offers Pultec style boost/attenuation control but it adds no favorable harmonic distortion. Klevgrand only modeled the Pultec's EQ curve behaviour.
The Neve Portico 5033 (the inspiration for the 6144 modeling) has a reputation of being a very 'musical EQ', and I think DDMF did an excellent job in emulating its behavior.
One final trick with the design is that you can disable all of the EQ bands and then with decent gain staging, use the master trim to add saturation without boosting or attenuating any EQ frequencies.
It's definitely worth reading the Portico 5033 product page to grok more than my 101.
https://rupertneve.com/products/portico-5033/
It has some great descriptions of it's capabilities:
an "audio chisel" to precisely hone in on offending frequencies
I make some offending sounds
a very high quality line driver... which can help to add sonic "sweetness"
spoon that on everything
enable the second and even third harmonic to be varied in relation to their fundamental, allowing the natural sound of a musical instrument to be varied
filtering out low rumbles caused by air conditioning units
I think I'd need the PlugInDoctor to catch that one
adding a little bit of "oomph" to a thin mix
add some "air" to your overall mix
I just need to learn to listen critically, I think.
@McD
If you ever fancy trading up for the real deal on the desktop, this is as close as you'll get to the Rupert Neve designed EQ (and compressor). DDMF is good but the Steinberg suite is bang on the money.
https://www.soundonsound.com/reviews/steinberg-rnd-portico
I think this sort of technical info is great. If you use your ears, great. No chart should sway you. I like to know why my ears are hearing things a certain way, so this breakdown is certainly appreciated!
It seems like many here really get a lot from
Ddmf ny compressor
Amazing noises limiter
Ddmf 6144
And klevs reamp
I have many eqs but not ddmfs and only compressors I have are rough rider and I think aufx has one in the bundle I got...
Maybe I need to grab these 4 tho to really get better mix
@reasOne
Purchased as a bundle the DDMF stuff is a no brainer. But the real essentials are NY Compressor and 6144 EQ. And purchasing these separately will cost you more than the bundle ($20 vs $18 for the bundle) so the other 3 plugins effectively come for free.
My only criticism of the DDMF plugins is that the UI hasn't been adapted for iOS and this can make them really fiddly as AUv3s.
Dang ya the bundle is the way to go looking at cost...
The ui looks a bit hardware, so I can see how it's a bit rough, I do use Apple pencil to tweak things with small parameters so deff looks to be handy for these
Wow that bundle is great! I already had the EQ and the reverb, and I just got the other 3 apps for £2
I love the EQ, but I have to say I'm not a fan of the reverb (I'm really fussy with reverbs though).
I agree. But I do have a sneaking suspicion that I like way too much reverb rather than a true subtle reverb which duplicate a container of "air". Christian Siedschlag wrote this about his design goals on his website:
I'm not sure if we're supposed to hear it at work or just recognize the result from experiences.
Is this about the ddfm reverb ?
@richardyot Can't say fairer than that.
Had a listen through your album earlier today. A couple of the grooves really connected.
@reasOne @McD
True stereo reverbs are really hard to engineer. Fabfilter Pro R pulls off the trick, as does my favourite (sadly not on iOS) Softube TSAR-1.
But cheap nasty reverbs can be really useful sound design tools. I saw people slagging off the Ratshack reverb in the Audio Damage sale thread. That can be killer on really resonant synth timbres like a screaming 303. The original Ratshack had more in common with a BBD delay unit (which are all the rage again). The fact that they're noisy and metallic sounding is all part of the charm!
Umm you understand that is exactly what guitar speakers do right?
Any sim not doing that has a pretty lousy speaker sim...
Yes. The one called "DDMF Envelope".
True. I don't think I ever saw a guitar cabinet with high-frequency horns.
From the Celestion 10" Guitar Speaker Specs:
Frequency range 85-5000Hz
Yes, I understand what a guitar speaker cabinet does. It was the extremity of the curve and the fact that there was far too much bass and low mid (it was virtually a 10+ dB curve from 60 Hz to 500 Hz), that would be boxy and muddy, to say the least, and would require a heap of post-processing to sit in the wider context of the track. But if that was the intention, all good.
Compare the Amplitube curve to the Softube Vintage Amp Room one. The peaking is far more balanced, but I made sure to take the reading with neutral EQ settings on the amp, what I was looking to measure, was the curve that's stamped in by the speaker cabinet before it was pushed to heavier distortion.
Yeah, I think that's intentional for fake "warmth."
I do remember liking softube sims because they're fairly unhyped sounding.
@BroCoast
I used Softube Vintage Amp Room on this Roxy Music remix which comes out next weekend (of 2HB from the first Roxy album). I used the 'Brown Amp', which is modeled on the Fender Twin, on the Rhodes piano, and it worked a treat. Apologies that it's only a one-minute snippet of the intro, the record company won't allow any other online promotion until it's released next weekend (it's being released as part of a massive independent record store promotion here in the UK called Record Store Day).
A minute's enough to hear to Softube on the Rhodes, any more of my 'cosmic lounge' might drive you insane so be thankful!
Nice one! Love those first 2 Roxy albums.
Thanks!
It's funny that - I love the Audio Damage Ratshack reverb, it's full of character and works as designed. What I don't tend to like are the really metallic sounding reverbs, for example I can't stand Audio Damage EOS. It's down to taste. Many people seem to like bright reverbs, but I prefer them dark.
I tend to prefer them dark too. But I do also believe in picking a reverb according to the program material.
The point I was making wasn't too be critical of your opinion of Envelope (we're all free to love/hate whatever we choose). It was more a point of being open-minded when you feel you've been sold a pup. Sometimes there's something in a horrible instrument or FX that has a fit for the material you're working on.
For the record, I think EOS is brilliant (and not cheap sounding at all). Especially on electronic drums. Plate 3 is the one I seem to return to the most. 40-50m room, around 2 secs long and with the low pass filter dialed down to about 1.7-2.2k, it's a wonderfully dark plate for the @brambos drum apps. Super cheap DSP wise too
EOS is well worth it's price and useful in IOS, but compared to a later work by the same developer (Valhalla Plate), it's a rather humble plate reverb.
For IOS-only users that may be hard to understand (without hands on experience on hardware or other 'software' reverbs), but that's just how it is.
Reverb is the big white spot on the IOS map, most implementations seem to be based on Apple's (really good) 'clean' reverb prototype.
Aside from EOS the AD480 is the only one I'm certain that it uses own algorithms.
FDN Reverb (Amazing Noises) seems to borrough from Apple, with FabFilter's Pro-R I'm not shure because I don't have it myself.
(btw I'm not into high-end reverbs at all. As suggested I choose the reverb according to source and what the track is supposed to sound)
I fully understand that low revenues from apps make it hard to develope (or port) certain algorithms for/to the platform.
I've purchased everything that Sean Costello has released but I try not to speak too often about desktop plugins (without context) as it's an iOS forum after all.
Fabfilter Pro R is excellent and matches the desktop plugin and has nothing to do with Apple algorithms, but sadly it Auria only. I'm also certain that the VirSyn reverb has nothing to do with Apple algorithms either.
But on the subject of desktop plugins, I'll often reach for Eos over Valhalla plate simply because I know it so well that I can dial in what I want very quickly. I agree that Valhalla plate is the more complete plate reverb but in much the same way I use Soundtoys Little Plate a lot because it's simple to use and sounds great.
I think Eos on iOS is better for plate reverbs than anything else including Fabfilter Pro R but Fabfilter is a far better reverb in most other areas. Having said that, the SuperHall on Eos can stand in as an iOS Vahalla Shimmer proxy far better than another iOS app by the name of Shimmer that sounds nothing like a Sean Costello algorithm! Dial up the Diffusion, Size and Decay to near max and tweak the low and high cut to remove the mud and ensure there's no ringing (the hi-cut doesn't need to be too drastic, anywhere in the 5-8k range should be fine). Honestly, it's scary how close it gets to the more modest Valhalla Shimmer presets like BlackHole.
Really wish Sean Costello could team up with an iOS developer to bring all his verbs over to iOS, that would be a far more satisfactory solution.
I've just realised with that last post I've managed to bring things back to the world of amp sims. A shimmer reverb with the right guitar tone is a heavenly combination.
The Virsyn reverb is a combination of convolution reverb for the early reflections and algorithmic for the late ones. It's my second favourite iOS reverb after Pro-R. One great thing about the Virsyn reverb is that it can do insanely long reverbs, which is great for ambient guitar tones.