Thanks for the detail, I'll need to make room in the budget (and rack!). all of which have a range of detuning, and all of which smoothly tune from one to another (from unison to octave, one note starts moving up, while another moves down), so lots of usable in-between states. there is also unison (3 voices detuned), octave (1 voice up, 1 down, 1 tonic) and fifth (1 up a fifth, 2 tonic). It's pretty easy to use (IMO), shouldn't take that long to work it into a piece with a sequencer, keyboard or other controller.Īnd the triad range of the interval CV is only 1/4 of the knob. first and second inversions are available on the interval cv. you can set the tonic cv to anything, so you can go through all seven modern modes in any key. I think this has been discussed earlier, but let me summarize the triad settings:Īs you change pitch with the degree cv, the chords go through M m m M M m d. And while they have different reasons for sounding this way, both Rickenbackers and Jazzmasters are bright, jangly guitars, so I was thinking a Ric pickup might just sound good in a JM as well. The ones I used probably need to be fixed but they added some noise to the master but also ended up with very clean and transparent gain reduction but added the warmth that's characteristic of tubes.Roy72 wrote:I'd ilke to see some kind go guide to what intervals are dialled up, easy switch between major and minor for example would be good for hanging out with other instruments. *Tube-tech Line-Leveling amplifier: Fancy limiter. I really like DBX's compressors, never had a bad experience with them and have thought about picking up a 160. Great for pop vocals or even progressive/trance vocals. You can compress vocals to crap with it and it begins to accentuate some of the upper-mids which bring out a little bit of the "airy-ness" of a vocalist. It allows for stereo modulations of Time, Space and Timbre of Mono or. The Mimeophon (from Greek mimeo (repeat/copy) and phon (sound)) is a stereo, multi-zone colour audio repeater referencing various vintage copying devices. Good for quick and dirty compression.ĭBX 165A "Over Easy" compressor: This bad boy sounds so fucking good on vocals. The Soundhack Mimeophon is a new 16HP music synthesiser module designed by Make Noise and soundhack & coded by Tom Erbe. Very transparent and reliable, the meters are also really good for reading things. The compressor inside Yamaha's digital mixing consoles (specifically the DM 2000's compressor). Good for being extremely preciseĪudio Damage's Rough Rider: Great for making things beefy and parallel compression, but I always end up having to bounce to audio because there's a stupid "warm up" emulation feature. Melda Productions MCompressor: Very versatile, tons of options and super transparent gain reduction. It has it's own little flair to it that makes things sound crisper when you really start compressing things and I like the squeeze on it, along with close to 0 ms attack and release times available. Waves C1 compressor: Awesome for tons of compression. Most of the things it does will have (even free) alternatives, but rarely do they carry the technical control that soundhack provides, down to FFT window types and overlapping amounts, etc. When I work in Ableton I prefer to use another software compressor, which I think sounds a lot better. I'm looking for windows tools that provide what soundhack provides with its level of technical versatility. Very good sounding compressor, clear and no effects.Ībleton's compressor: I only use it for sidechaining, that's what it excels at. Very clean in the "platinum" setting, decent analog emulation with "FET" and "VCA" settings but no RMS detection. I've had the opportunity to use several compressors, both hardware and software.
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