Waves Audiophiles facebook page

Discussion in 'Mixing & Song Critique' started by Sean G, Oct 14, 2016.

  1. Sean G

    Sean G Well-Known Member

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    Something worth sharing from the Waves Audiophiles facebook page...

    Sound City II.jpg

    Yep...running that cracked Waves bundle through a cracked version of Cubase 5 into a Tascam mixer then to a Tascam reel to reel is definitley going to give you that Sound City sound...:ROFLMAO:

    Why douchebags like this don't just pay $49 for the Scheps 73 is beyond me...using cracked software then expecting people to pay for your services is immoral o_O
     
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  2. kmetal

    kmetal Kyle P. Gushue Well-Known Member

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    Lol years ago I paid some kid $100 one time for a cracked bundle. Worked for a week then destroyed my computer! Spent the next 4 days straight re-installing and optimizing Windows xp.

    Since then I've probably spent 2k on vsti/plugins... Guess what, never had a computer problem. I don't pay $100 for a bundle of anything unless I can smoke it.

    See, if this dumba$$ was really clever he'd crack something super awsome like the softube pultec/tube tech stuff, and the lexicon bundle. Not some cheesy bundle where half the plugins are really just generic. Lol yay I got the waves q10. Lmao. Doubler anyone? Wtf? Does the diamond even have the CLA compressors? Lmao guys I got supertap delay now!!!

    im sure it will improve the recordings he's doing in his closet w an MXL mic into an M-box into pro tools 'first'. Lol he does realize he put illegal stuff on Facebook right?
     
  3. Sean G

    Sean G Well-Known Member

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    Thats' why I had no issue putting it out there...he openly bragged about it on Fb...boasting about his use of cracked plug-ins...it was soon picked up and posted on the Waves Audiophiles Fb page, where a member actually confronted him via a message asking where he got the torrent from, to which he didn't want to say...surprise surprise...other than to state "I'm not part of the problem..." as his defense.

    Seriously, have a go at that BS...Sound City II my ass. This guy gets the Epic Fail Of The Month Award for this post.

    Apparently his post got the attention of Waves and I believe a software audit was in the process.


    Scheps 73 plug-in from Waves = $49

    Using cracked Waves 9 Diamond = $0

    Being a douche and bragging
    about it on social media = Priceless !!!


    For everything else...there's always a software audit ;)
     
  4. Sean G

    Sean G Well-Known Member

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    What I find ironic is he is stealing software by way of using a cracked copy....then charging people for his services.

    Thats' like stealing a taxi....then charging your mates for a ride somewhere
     
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  5. Sean G

    Sean G Well-Known Member

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    Its the old adage, you get what you pay for.

    I'm sure I have spent thousands on plug-ins just in the past year or two alone...I would hate to go through the file of online receipts I have and add it all up...then theres the VSTi's as well plus the initial cost of any DAW programs. You are investing in yourself is how I see it...as well as giving back to the companies that give you the tools to be able to do what we all do.

    I'm a firm believer of supporting the software developers who bring us the software and plug-ins that make our lives easier.
    That way they can continue to bring us further updates and new products...otherwise that next plug-in you buy may be $50 more to buy if they don't get a return on their product.

    Some of these plug-ins take years to develop and huge sums of money. Using cracked copies is just plain theft IMO.

    Guys like the one above just make it more expensive for those who do the right thing and actually buy the product.
     
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  6. kmetal

    kmetal Kyle P. Gushue Well-Known Member

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    Lmao love it.

    Yeah, not only that he's probably got no skills, and more clients than the local comercial studio.

    Lol in all fairness I think I admitted to a civil offense, hopefully the statute of limitations is in effect.

    I am okay w supporting software companies. The licensing thing isn't perfect. Like I disagree with paying big money for software, and only getting a single install or 'seat' for it. That's kinda stingy, and usually it's the most pricy companies who are doing ehem waves, and avid.

    To me you should simply just register your computers, register the software, and they simply cross refernce it. That way it's nearly impossible to cheat. maybe not I dunno, but I do find that part of it frustrating. I think the 3-5 installs at a time is pretty realistic. You figure work, studio, laptop, one for mobile, isn't out of the question these days.

    It's interesting to me that izotope has basically a loose, unlimited install agreement, provided it's your computer, all based on the honor system, and yet I've never known anyone with a cracked version of ozone. Yet you see cracked waves and avid all day.

    I wouldn't even mind paying for multiple iloks, provided I could use the licenses.

    The single license sure can move, but having just one daw isn't common anymore. To me it leaves a bit of a bad taste kinda like its a privalige that you can pay them.

    But it it's what it is, and overall I think most companies are fair. the thought of buying multiple copies of the same thing especially at full price sickens me. So it's one of those things where you've gotta just pick and choose.

    Vsl allows 3 licenses via their key and so you can use their stuff on 3 different computers. So it's not dependent on your machine hardware 'code' like bfd. BFD will however give you more licncesed if you ask for them, becuase you got a new computer. Obviously this kinda self regulates.

    I understand it's a fine line for both the consumer and manufacturer, overall I think the 3 concurrent install is a fair compromise. It's far better than the single license, but not as cool as your allowed on every one of your machines, which in reality is exactly how it should be. I wish there was a way to register my devices w my software companies. There's certainly no doubt Apple knows each one of my devices, and probably exactly what's on them, and what I'm doing at any given time. So there's no doubt in my mind that the other companies can or do to.

    To be honest I think the subscription thing is gonna man things even more restricted for the end user.

    Overall I can't complain. Waves even sent me a free Req license one time as a bonus, which is something I'd actually considering buying twig for the $30.
     
  7. DonnyThompson

    DonnyThompson Well-Known Member

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    :LOL::cool:
     
  8. Sean G

    Sean G Well-Known Member

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    Amen to that !...although my days of being heavily influenced by the likes of Cheech Marin & Tommy Chong are sadly far behind me now.
     
  9. DogsoverLava

    DogsoverLava Well-Known Member

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    Brian is also a skip tracer...
     
  10. DonnyThompson

    DonnyThompson Well-Known Member

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    I guess I'd have to disagree, Kyle; I don't see it like that. I think that the subscription system - depending on the manufacturer, the products, and what's included of course - gives access to processing for pennies on the dollar compared to what the prices of plugs were just a couple years ago; and, as is with the case with Slate's subscription system; any updates - and even new plug-ins as they develop them - are included with the one price.

    $14.99 per month ( okay.. 15 bucks) is really a pretty fair deal, if you are using those plugs, and have determined for yourself that they are of value and are good tools to have in your arsenal.
    It wasn't all that long ago that packages like Wave's Diamond, or Mercury Bundles were very expensive... some of those bundles were priced in the four-figure range, which, while a fraction of the cost compared to the real hardware - was still pretty freakin' steep for the average mid-level studio... and, if you had spent that kind of money on a 32 bit bundle, and then were forced to pay for them again when things started going all 64 bit, that's a pretty big investment to make.

    I don't work for Slate, or T-Racks, or Waves, either, so I'm not trying to hard-sell anyone; I'm just looking at it from the angle of the creative and business-end of the recording studio; and $15 bucks a month, for all that you get, including updates as well as future new plugs, is to me, paltry. When I had my facility, I spent more than that per week just in coffee. LOL

    I think it really all comes down to what value you place in your processing of choice. Many, like Chris, ( @audiokid ) have been honest and forthright about mostly being happy with the stock plugs that come in Samp/Sequoia, with the exception of a few select 3rd party plugs he has chosen to add, by companies like Fabfilter.

    There are those, like Kurt ( @Kurt Foster ) who don't really dig digital processing, who would prefer to use the real hardware whenever possible.

    Then there are those who seem to be "addicted" to VST's, and can't ever seem to have enough; to the point where they have 100 EQ's, 100 compressors, 50 delays and verbs...

    Somewhere in the middle of all these is where I see myself, I guess. I like digital recording/mixing technology... and yes, there are things I like about classic analog front ends, but I haven't "blocked" new technology like several of my colleagues have.
    I'm not always happy with digital processing just because it's digital - but then again, I'm not always happy with analog processing just because it's analog, either.

    Personally, I happen to like Slate's plugs. I think Fabrice Gabriel is great at what he does. I also like IK Multimedia's T-Racks plugs, too. I have had ample opportunity to work with both, and while I don't love everything that they develop and release, I do find value with most of their processing.
    (I also still have some older Waves stuff ( 32 bit) that I purchased years ago that I still find useful from time to time).

    My confession here, is that yes, I like having choices for digital processing... and a plug doesn't always have to be an "exact" modelling or re-creation of the analog piece it's trying to reproduce, in order for me to find value in it.
    I've heard and used some SSL modeling that I honestly can't tell the difference from a real SSL strip.
    By the same token, I've yet to find any Pultec-style VST's that I think truly sound like a Pultec - but that doesn't mean I still can't find it useful in certain situations. It doesn't always have to be an exact model of a piece of hardware, in order for it to still sound good with what I'm working on at a particular time.

    So, I think these current subscription plans are pretty good deals - for those who like to have those choices, and for those who know how they work, what they do, and how to use them for optimum results; I think that many of these processors sound very good, and they do what they claim to do very well...
    They are probably not a good deal for people who are satisfied with the stock processing that they are currently using in their DAW of choice.

    Then again, in no way are they at all valuable to the listeners of the music/mixes being made by those who have no earthly idea what they are doing with them. ;)

    IMO, of course. :)

    -d.
     
  11. audiokid

    audiokid Chris Staff

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    :D You just had to do it...

    To expand. I free up CPU when ever I can rather than bloat or corrupt my system. I also hear better processing in what most look for ITB with outboard digital hardware. A Bricasti, Lexicon and various analog and digital keyboards integrate with my DAW and computing interface via PCIe (One Bricasti would never operate in a DAW, it takes a full 8 core to run it).

    When it comes to the majority of my VSTi workflow, I choose external sound or dedicated sources via keyboards like Nord, Roland, Korg, Akai that are also controllers.

    When it comes to special EQ's and compressors, I really do not hear better than what is stock. Its all there. What isn't there are Pultec EQ and those to my ears cannot be emulated. What a Pultec does is curve analog in an analog workflow. It emulated into a digital plug-in is pretty silly.Not much different that the Bax EQ as well. The beauty of the Bax is in the filters which is best used to clip the top transients off prior to the AD conversion lol.

    Its not that I think Sequoia and Fabfilter have it all, its that Sequoia has what the finest analog console has in a perfectly tuned code without messing with it.
    Anything more than what is stock then, I look to outboard processing because at that point, there are no plug-ins that compare, CPU starts becoming an issue and ya know I will never go Avid and one computer does it all platform. That is just too restricting and scary lol. I need space!
    .
    :D
     
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  12. kmetal

    kmetal Kyle P. Gushue Well-Known Member

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    In my state (physical location, lol) they legalized it for medicinal purposes so they can tax it, instead of spending money loosing the 'war'. I got a perscription last year for my back pain. I go thru phases of using it and not. It's been about six months or so, because I wanted to clear the noggin.

    That's about where I stand too

    Yup

    It's hard I think for them to model things that are relatively unpredictable like tube stuff vs a tan sister based console.

    Plus each pultec unit itself is different.

    Not having used one I dunno how real it is, but to my ears the softube tube tech and pultec plugins are far superior than the rest. I've used all the major pultec emulations.

    Lol funny u brought up slate, just snagged VTM for $118 a few days ago. I like the VBC too so that's on the list.

    I agree with a lot of what you said but I'll play a little devils advocate here for conversation.

    My biggest problem is your processing dissapearing if you miss a payment. Which the workaround is to print tracks, which is a good idea anyway.

    W plugins updates have never been a big draw for me, beside the 32-64 thing, which I still have a waves native power pack bundle to update. If I understand it right I just need to do the coverage plan on them and I get the new versions. $60 isn't too much to ask, although mildly painful.

    Particularly w DaW's I'm not into updating it unless there's a major useful feature or overhaul. Updates used to be included for your version number.

    Pt gives you a year of updates then you gotta subscribe or just live w the latest version you had under the plan. You have to subscribe or not there's no 'jumping in'. This is w the perpetual license purchase i.e. owning it.

    I did the math in pt's case you spend less if you keep your software for three years after purchase date. That's where the costs of puerperal and subscription equal each other. Since you get a free year of upgrades this keeps you current an additional year, i.e. Year 4 your softwRe is only 3 years old. This is in general not a problem unless you need to be taking in sessions that are in the latest version. Which is where the subcription vs perpetual becomes a divine line of sorts.

    Personally the 3-5 year mark is where I upgrade DaW's anyway so it's not a huge deal, and hopefully they'll have some upgrade discount vs a full re purchase.

    My main concern w the whole subscription thing was them limiting the amount of installs to just one based on some sort of sign in thing or watever.

    For instance w a Vst daw and mastering computer Config I'd certainly want to run certain plugins on all three at once, say Req or l2. Now those are waves so I'd have to buy three anyway, but my concern is compnsies like ozone (unlimited installs) or slate (2 installs) will go that way, citing piracy.

    Vsl allows three as long as you have 3 of their dongles.

    Adobe has eliminated perpetual licenses completely, they are subscription only for they're video audio stuff !!!!

    Frankly as long as i can keep the latest version, and the number of installs is fair, I've got no complaints.

    At full price I'm looking already at $800 additional per year on top of the purchase price for media composer, PTHD, wAves update plans.

    That's a lot kinda. Considering its 4K upfront.

    So I think it takes careful consideration up front and planning before softwares is purchased or leased.

    The only way to 'save' like I said is to buy and keep for 3+ years, which Frankly isn't a bad idea in general, considering how sensitive computers can be.

    Someone like me who's monthly income varies widely, I'm buying upfront for now, and assessing what's worth continuing the update plans when the time comes next year. That way if I'm having a weak month or year my tools still work 'as is'.

    Also I cherry pick plugins, from each manufacturer. So having the all or nothing type subscription like slate has doesn't quite work. That said, I'll be 240$ in on his plugins, so what better? Two years of everything? Or two of his plugins with no expiration?

    Really I can't answer that until I run this system a couple years. But I'm currently satisfied with my outright purchase.

    I do find slates perscription to be one of the most reasonable both money wise and you get two concurrent installs which is better than 1 not quite as fair as 3.
     
  13. kmetal

    kmetal Kyle P. Gushue Well-Known Member

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    My buddy has two roomfuls of all the classic synths and some new ones. Even the best samples don't quite match the dimension and richness of the hardware.

    That said my samples are quite good, and have all the major players. It works for me since my space is limited and evolving, and I like the idea of using multiple instances at once of the same vsti, without printing right away.

    As a guitarist and producer/engineer I think the vsti route is best for my flow at this point. Albeit at the sacrifice of an intangible % of quality that can't otherwise be had. As is the case in almost all hardware vs software comparisons.

    I think it's not necessarily the samples themselves, it's that the vsti aren't necessarily modeling the analog sections as well.

    That said my current (upcoming) setup w the babyface pro, probably wouldn't capture the true expanse of the analog synths I have in vsti. So I feel it's a wash for me, in my current state.

    I also selected a company who samples the instruments, and models the controls. Done companies model the samples/sounds. Then they had sterling sound master the samples.

    So in essence I paid for some really high quality recordings of classic synths. For $150, ($650, got it in close out) I've got much more than I could do w my buddies synths at a world class studio.

    I do have a hardware mpc on my list for some reason i really want one.

    I'm not saying one way is better ultimately, just stating a case for why I went vsti for now...
     
  14. kmetal

    kmetal Kyle P. Gushue Well-Known Member

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    Lol don't get me started on the bricasti. It's untouchable. Even beyond having a dedicated 8 core processor, there's top notch analog and conversion.

    Im waiting till the next one comes out and it's on the list. I should be ready by then. Hopefully it's 7.x too!!!
     
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  15. audiokid

    audiokid Chris Staff

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    my VSTi reasons are less about "good, better, best sounding to hardware. Its all about freeing up CPU load. CPU load can create latency and glitches.
    Simply put, I like being able to move more freely in the creative process. I prefer to be able to walk over and feel my keyboards, play the drums on pads, grab a guitar while I am working all in sync and all active in real time. Then to be able to instantly loop in overdub or edit mode with all that still active tracking. My DAW is there to record and edit, not to replace my creative flow.

    Some may not be aware how times are changing in the interfacing world. External gear is not much different to plug-ins now. Without going into it all, the Akai interfacing is amazing. They finally have it married to your DAW. Example, the drum library is ITB, but it is also (if you want, controlled via the external controller). There is a midi track and an analog track for each VSTi . Hard to explain. But in a nut shell, its like VSTi hybrid. Things are changing in the digital hardware world!

    This is where a Bricasti takes over.Anyone that has grown up in the sampling world ( made your own samples and patches) knows how vital the processing is in comparison to the actual sample of say a violin. Violins sound like ass without the reverb, as does pretty much all instruments. When we are buying a library, keyboard etc, we are buying the processing and algorithms.

    Without going into a big thread here, the real magic to everything music is in the capturing and processing of "space in which instruments live".
    Recording = (acoustic space), mixing = (improving acoustic space) and mastering = well, they fix and can sometimes improve acoustic space even more.

    I'm pretty certain we spend FAR too much time thinking about special EQ'S and compressors today.
    All being said, I'm perfectly happy with one DAW and Sequoia. Everything else I do is because I can and its more fun, less problems, for me.
     
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  16. audiokid

    audiokid Chris Staff

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    +1
    I'm also very excited about the new Bricasti delay processing coming. Between the M7 and whatever the delay is called, this plus 2 DAW's should do it for me. Save the pennies for this stuff because you cannot get it from a plug-in.
     
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  17. DonnyThompson

    DonnyThompson Well-Known Member

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    I was using you as an example of the positive reasons, brother.... not the negative. :love:

    Understood, Chris... but you're also referring to OB pieces that many engineers and mid level project studios can't afford to have - and in this current era of recording studios having to drop their hourly rates to ridiculously all-time-low figures just to survive, the profits just aren't there anymore to have an operating budget to buy that great OB gear.

    As you said - and I totally agree - the Bricasti has an incredible sound, all of its own, that is currently untouchable through standard ITB processing - but with mid-level project studio owners barely being able to even keep their lights on, how do you invest in that gear - and - do the majority of your average clients even hear the difference(s) anymore? Maybe, maybe not... but even if they do, are they willing to pay your studio the rate you'd need to charge in order to offer gear like that?
    Sure, if you're clientele is made up of big time producers and artists who are accustomed to working at that level, and having access to those things, and even expecting those to be in your OB rack - and being willing and happy to pay the studio's hourly rate, accordingly set and based on the gear available -then yeah, you need to have them, and if you do currently have them, you're probably doing well enough business-wise to have an OB rack that is really nice - but, most of us in the mid-level league don't have that, and the ones who do have that peripheral gear - like yourself - have invested in it, sometimes out of great financial sacrifice to themselves or their business, because they either recognize the need to have those things to compete, or they're buying that kind of gear for no other reason than because they really, really want to have it for themselves... but even so, you still need to be able to afford it.

    It wasn't really my intention to compare decent VST's to their hardware fathers, although, as mentioned, I do think that modeling has gotten to be so good in the last 2 years, that many ITB processors do rival the original pieces in sound and response. Having actually worked on real SSL's in the past, it's my opinion that some of these SSL sims really do sound just as good ( ie: The Waves SSL E Series channel strip VST is incredible, btw...), but... I was just as quick to say that I felt that some other sims still fall short, as I mentioned with the Pultec example. But that's been changing for the better. Digital Modeling Technology is really improving day by day; it's grown in leaps and bounds over just the past 2 years or so.

    And, again, IMO, a VST/Sim doesn't always have to sound exactly like the hardware it's trying to model in order for it to be useful to me.
    (Marco ( @pcrecord )and I have talked about this over the past few years, I think he feels similar to the way I do in this regard).

    An example of this would be some of the current Fairchild 660/670 VST's...I've never had the luxury of using a real Fairchild 670 - at least not for any longer than about 10 seconds or so, LOL , and few of us here - if any of us at all, even the 35-40 year studio veterans among us - have actually ever logged enough time on one to know ( Remy might have had that luxury) - so I can't say if the current crop of Fairchild VST/Sims from the various manufacturers are close (or not) to the real thing; but I have used some 670 VST-Sims that I really do like the sound of - at least for what I was using them for at the time - and for me, that's the benchmark - does it sound good for what I'm using it for?

    Kyle brought up a good point:

    And I think that this can be applied to pretty much all classic OB analog gear; anything with tubes, or trannies, or wires and resistors...you'd simply substitute the word "Pultec" with "Fairchild" instead, (or Teletronix, or Urei)... because even the real hardware often had differences between exact models - You could have 2 exact Pultecs in your rack, or 2 seemingly identical Neve 1073 preamps, (maybe even from the same year) and there's a pretty good chance that one will sound different than the other one does...( some might be slight differences, some much more noticeable) and in that scenario, the real hardware is going to win out, precisely because of those subtle to noticeable differences... each unit lending its own sonic vibe.... and those differences are something you won't get with plugs, because all things being equal; full factory reset, with all parameters being identically set on each VST, the plugs are going to sound exactly the same... So exact, that I'd wager that they'd present themselves as such if you did a null-check on them.

    In the end, the plugs I use always serve a purpose for me - and those purposes change - depending on what I'm working on at any given time. I don't reach for VST's in a second nature/habit fashion, or because the GUI "looks" cool, or because I feel I am "obligated" to use them only because I have them...
    I seek out the processing I want because I'm looking for a certain sound that a given VST will provide. Sometimes I can get that thro0ugh the use of a DAW's stock plugs, but sometimes I can't.
    Hell guys, there are times when I'll use a particular plug precisely because I know that it's going to "damage" the audio signal that I feed it.... but I'm damaging it in a way that I like.

    I'm not disparaging analog gear - not at all. Of course I would use the real OB gear if I had the budget to do so. If I get the opportunity, I love to front-load incoming audio with great-sounding analog processing ...but that's not something I can afford to do at this juncture of my life, personally or professionally.

    But I can manage to pay $15 a month to give me the tools that I like to use and that I like the sound of. ;)

    IMHO of course. :)
    -donny
     
  18. pcrecord

    pcrecord Quality recording seeker ! Well-Known Member

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    I think this is the only way to find VST emulation plugins worth it.
    If I keep in mind that they're not the real thing. It doesn't remove the fact that they could be ok to use for what they do at their current state.
    If a 1073 emulation gives a track what it needs to be just right, what ever the name on it, I'll use it. (just an exemple...)
    People have been chasing for emulation precision for years and ended up with headaches. Don't we forget ? 10 x La2a aligned together will give 10 different sounds.
    Man I have 2 La 610 in my rack who sounds a lot different from each other ;)

    What is dangerous is to use plugins because they are a trend and/or someone told you it sound good. It is so easy to degrade a mix with the wrong Tools or with too many Tools. !!

    I'm not endorsed by any company (man I wish) but like Chris, I don't use many third party plugins in my work. I could use just the stock vst and Fabfilter's and be happy.
    I have other plugin installed but they don't get much use. Oh yeah I forgot Valhalla reverbs who gets my love very often..
     
  19. audiokid

    audiokid Chris Staff

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    Of course I know that. I think its excellent when we @ people all the time. Its how I find these threads too. Keep up the positive @ (y)

    Personally I don't see how most project or mid level studios can afford the amount they spend on plug-ins, DPS and storage?

    As for the upper crust, the perfect example: studio using Pro Tools and DSP cards (UAD and Avid) , how much do the cards (plug-in closets) cost, including the usual 18 month upgrades built into their marketing share holders program for 2 decades now. ROTF. I bet a hell of a lot of money. :D

    I've done the math and bet the farm most people into recording come out thousands cheaper by rethinking acoustic space and what adds space to a mix. Its sure isn't a channel strip plug-in.

    I think ... the mass of third party plug-in Coders (usually working for the hardware companies dying because lack of sales), are approached by coders telling them they can model their hardware and earn X amount of money from each sale. :cautious:

    +1
     
  20. audiokid

    audiokid Chris Staff

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    A great example that comes to mind ( and there are so many ) raved about. What a total piece of crap code

    Curious: How maybe people use this? http://www.soundtoys.com/product/echoboy/

    It looks good eh.

    I used this after it was recommended by a lot of people . Instantly after opening this plugin, (dry mix, flat) it took a nice open track / mix and instantly reduced it to one dimensional cheapness. It was also like filling my ears, one with cotton, the other with wool and then adding a fizz that sounded like a 200 foot bad cable. It also forced a transient smear. I could hear this all because my system is truthful and exposes the crap the moment bad code gets in.

    Even when I disarmed this code, it sill was in the summing of my DAW. Only until I completely uninstalled it, did it go back to normal again.

    I've heard this in more than just this plug-in as well. Which is why I keep my main DAW clean and look to select and well tested code.

    Fine by me if people think plug-ins in your DAW folder don't have an effect. If its loaded into your DAW, its using something to be there, ready.
    Personally, the budget world is flash for the unsuspecting crowd "on a budget". Once on a budget, always on a budget, yet you will end up spending far more money and dead wasted time on everything if you keep trying to win through a "budget mindset". I'm of course not talking about the Garageband etc crowd.

    Once you are in the bypass lane, we usually keep driving that way for years and years.
    Kurt said more than once, as have many Grammy winning engineers over and over, I put a mic through this pre-amp and instantly heard the difference, Ah, so that's how they do it".

    Comparing the money spent on budget bloat , the good dope doesn't even cost that much. Especially if we are pursuing excellence and how to do it on a budget.

    Once I'm done building my next budget DAW system, I'm going to add up the costs and share it here.
    I have no intent or interest to convert anyone. I'm just adding food for thought. :)
    Maybe down the road we can figure a nice way to study comparisons solely related to budget and sonics.
     

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