Search Results for: 64

64bit without compatibility problems

We all want 64bit for getting access to (almost) unlimited memory, unfortunately that means we’re stuck in a maze of compatibility problems, bit bridges and the like – even worse, there is no end in sight.
Right ?
Wrong !
Let’s look at the problem from a fresh angle:

  • what do we need 64bit for? Correct, only the real heavy RAM hogs, i.e. samplers.In my case that’s exactly two VSTis, Kontakt and Superior II. You might use different ones, maybe a few more, doesn’t matter. So those would benefit from 64bit access.
  • all the remaining FX and VSTis combined will probably never even get close to the magic 4GB limit a 32bit project has, unless your name is Hans Zimmer.
  • so it makes sense to keep potential compatibility issues to those few RAM hogs instead of fighting the wars for every little FX plugin in your arsenal again and again …

Here’s what you need : [Read more…]

64bit

susiwong kindly provided this brief article about using 64bit supporting hosts.

64bit is one of the most asked for “features” nowadays – justified in a few special situations, not really needed in most scenarios imho. We’re not talking about 64bit data path atm, that’s a completely unrelated phenomenon not connected with a 64bit OS. Let’s compare the possible scenarios using Cubase as an example, other hosts in Windows are similar/identical :

32 / 64 bit [Read more…]

presets for TDR Nova GE

Nova

Below you’ll find two general purpose presets for the excellent TDR Nova GE PlugIn. If you did not tried it yet, check out the free “standard edition” over there at TDR. It’s based on Vlad’s Nova 67P freeware and Vlad and Fabien really did some magic with the Nova – a sort of Nova 67P reloaded. [Read more…]

out now: SlickEQ “Gentleman’s Edition”

SlickEQ_German

Key specs and features

  • Modern user interface with outstanding usability and ergonomics
  • Carefully designed 64bit “delta” multi-rate structure
  • Three semi-parametric filter bands, each with two shape options
  • Five distinct EQ models: American, British, German, Soviet and Japanese
  • Low band offers an optional phase-lag able to delay low frequencies relative to higher frequencies
  • High pass filter with optional “Bump” mode
  • Low pass filter with two different slopes (6dB/Oct and 12dB/Oct)
  • Parametric Tilt filter with optional “V” mode.
  • Six output stages: Linear, Silky, Mellow, Deep, Excited and Toasted
  • Advanced saturation algorithms by VoS (“Stateful saturation”)
  • Highly effective loudness compensated auto gain control
  • Stereo, mono and sum/difference (mid/side) processing options
  • Frequency magnitude plot
  • Tool-bar with undo/redo, A/B, advanced preset management and more

SlickEQ is a collaborative project by Variety of Sound (Herbert Goldberg) and Tokyo Dawn Labs (Vladislav Goncharov and Fabien Schivre). For more details, please refer to the official product page: http://www.tokyodawn.net/tdr-vos-slickeq-ge/

Related

released: SlickEQ

TDR SlickEQ main flat

TDR VOS SlickEQ is a mixing/mastering equalizer designed for ease of use, musical flexibility and impeccable sound.

Three (and a half) filter-bands arranged in a classic Low/Mid/High semi parametric layout offer fast and intuitive access to four distinct EQ modes, each representing a set of distinct EQ curves and behaviors. An elaborate auto gain option automatically compensates for changes of perceived loudness during EQ operation. Optionally, SlickEQ allows to exclusively process either the stereo sum or stereo difference (i.e. “stereo width”) without additional sum/difference encoding.

In order to warm up the material with additional harmonic content, SlickEQ offers a switchable EQ non-linearity and an output stage with 3 different saturation models. These options are meant to offer subtle and interesting textures, rather than obvious distortion. The effect is made to add the typical “mojo” often associated with classy audio gear.
An advanced 64bit multirate processing scheme practically eliminates typical problems of digital EQ implementations such as frequency-warping, quantization distortion and aliasing.

Beside the primary controls, the plug-in comes with an array of additional helpers: Advanced preset management, undo/redo, quick A/B comparison, copy & paste, an online help, editable labels, mouse-wheel support and much more.

SlickEQ is a collaborative project by Variety Of Sound (Herbert Goldberg) and Tokyo Dawn Labs (Vladislav Goncharov and Fabien Schivre).

Key specs and features

  • Intuitive, yet flexible semi parametric EQ layout
  • Full featured, modern user interface with outstanding usability and ergonomics
  • Carefully designed 64bit “delta” multi-rate structure
  • Three EQ bands with additional 18dB/Oct high-pass filter
  • Four distinct EQ models: “American”, “British”, “German” and “Soviet” with optional non-linearity
  • Four output stages: “Linear”, “Silky”, “Mellow” and “Deep”
  • Advanced saturation algorithms by VoS (“stateful saturation”)
  • Highly effective and musically pleasing loudness compensated auto gain control
  • Oversampled signal path including stateful saturation algorithms
  • Stereo and sum/difference processing options
  • Tool-bar with undo/redo, A/B, advanced preset management and more

Availability

TDR VOS SlickEQ is a freeware audio plug-in available for Windows and Mac in VST and Audio Units format (both 64-bit and 32-bit). VST3 and AAX formats will follow later.

All downloads are available via the Tokyo Dawn Labs website.

Related Links

SlickEQ – some more release info

Just a couple of days ago we introduced the upcoming release of SlickEQ and lots of questions raised already. So, here is what Fabien already committed about it in a public forum:

  • Win/Mac, AU/VST2/VST3 (+AAX planned and in process), x32/x64
  • No linux builds planned, sorry.
  • The name is “TDR VOS Slick EQ” and it will be available for free.
  • Release is a matter of days. Maybe a week or two.

As of today I just want to add: With the introduction of TDR VOS SlickEQ, quite a number of amazing and previously unheard DSP algorithms will see the light of day – including (but not limited to) several Stateful Saturation algorithms running within an audio signal path entirely upsampled to a constant high sample rate for maximum precision.

Expect smoothness, best-in-class.

Related links:

blogging VOS – 5th anniversary

Today – five years ago – I’ve started blogging about the Variety Of Sound venture. Your feedback was truly overwhelming: During 2013 this blog was viewed more than a million times and visitors were coming from over 200 countries in all. Lots came searching specific plug-ins but most traffic came from the vast number of reviews and top10/best-of lists around the net. Most attention this year went to the ThrillseekerVBL release around July 1st and most concern is about having 64bit versions available.

mixing does not mean restoration

If you prepare a track and something like “where is my damn 64dB/octave brickwall filter?” comes to your mind then this might be because you are not upfront any mixing process but are working on audio restoration instead. Or the sources just might be crap. Always remember: garbage in, garbage out.

I’ve just re-discovered preFIX.

preFix_teaser

compressor aficionados (2) – Nico from BigTone

Nico, why did you wanted to be a sound designer?

this happened by accident actually. i am and always was a sound fetishist. to me music is simply based on sound at the very first. no sound, no music. sound to me is the core element of music, way before you start a composition you need a sound to do so, be it a synthesizer or a guitar, it doesn´t matter. so the sound you choose greatly influences the composition that follows. that just was my natural understanding of music. since i was producing music in the mid 80´s i did so in the electronic area, using a lot of synthesizers. i never liked the presets provided with them, so i started to screw around on the knobs, until i liked what i heard. i started to study manuals (i still do this regularly, just for fun). it was easier for me to do it that way, as i then was able to make the sound fit into the composition/arrangement, as opposed to make everything fit searching preset by preset, not finding what i wanted anyway. over the years experience growed, and musical success went along with it, until i realized by 1997/98, that the music business went into deep trouble, so one day i thought, i might as well print an audio cd demo with some of my sounds i collected over the years for various synthesizers, and give those to the relevant guys at the music fair in frankfurt, which i visited regularly anyway. just to check if there was a market. well, after this year (1999) at the fair, the phone didn´t stop ringing…
so from that point on it came like it had to, suddenly i earned way more money than with producing music. so i went that route quite fast. i had to, the demand was huge. [Read more…]

The Sound and Music of Oblivion