vladg/sound

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Category Archives: “Molot” compressor

Molot 0.3.1 with AU version will be available soon

Check this screenshot:

You can see that parameter values are shown and can be edited.

PS. Also I checked VST version with RTAS wrapper. And it’s OK!

PPS. Also with 64-bit support of course!

 

 

Limiter №6 Mac OS X 10.5 issues

Now I can confirm that Limiter №6 Mac version doesn’t work on Mac OS X 10.5. The version that was published 26 of june was tested only on 10.7.

I think I solved that problem. If anyone can confirm it works OK, I’ll update the version on “downloads” page.

This version should work on Mac OS X 10.5 and later (32-bit, Intel CPU):

http://dl.dropbox.com/u/18475891/Limiter6-v1a-gui1.dmg
http://dl.dropbox.com/u/18475891/Limiter6-v1a-gui2.dmg

EDIT: the same with Molot

http://dl.dropbox.com/u/18475891/Molot-03a-vst-osx.dmg

EDIT-2: also Limiter №6 english manual updated. Thanks to Tavi Scurtu and sinkmusic.

If you want to fix my English you can get [doc-version], fix it and send me back.

 

:-)

No way 🙂

 

Molot and external sidechaining

There are 2 ways to achieve external stereo sidechaining in VST plugins:

  1. Use VST3 format.
  2. Use 4 inputs (1, 2 for signal and  3, 4 for sidechain) and DAW that supports 4 inputs routing (Reaper for example).

My choise for Molot 0.3 is #2. If you select external sidechaining in GUI it looks something like this:

But if your DAW doesn’t support 4 inputs, this is the version of Molot 0.3 with 2 inputs and disabled external sidechaining support:

[Molot 0.3: 2 channels version (VST, Windows 32-bit, 64-bit)]

 

Molot 0.3 is out

What’s new? In short:

  1. External stereo sidechaining support (inputs 3 and 4).
  2. Linear phase oversampling support (latency 344 samples).

See more details on [Molot] compressor page.

PS. Yes, I know this GUI for extended parameters doesn’t look so good. It will be changed to more usable one in the next release.

 

Molot plus new limiter plugin

I’m continuing my experiments with new plugin to prepare public alpha version. You can check my test of using it on master.

This is my old work for Sound on Sound “Flags” remix competition. Just mixdown. No mastering processing. “Molot” was the only type of compressor used for this mix. 

http://soundcloud.com/vladg/flags-54-remix-competition-no

(as usual I recommend you do not press “play” and listen soundcloud’s encoded mp3 but download wave file by pressing “arrow down” button)

And this is my try to use new limiter plugin on master.

http://soundcloud.com/vladg/flags-54-remix-competition

This is the screenshot of settings (public alpha will come soon and you’ll be able to try it).

And also Sound on Sound’s Mike Senior version of remix just for kicks.

http://soundcloud.com/flagstheband/54-mike-senior-remix-1

Check also this:

http://www.soundonsound.com/sos/mar11/articles/mix-rescue-0311.htm

And a note about last freeware compressors released. I like these compressors very much:

http://www.tokyodawn.net/tdr-feedback-compressor/

http://varietyofsound.wordpress.com/2012/03/02/thrillseekerla-released-today/

Thumbs up!

Molot vs. new plugin

I’m experimenting with usage of new plugin as dynamics processor effect in mixing to try to make presets and to find its weakest points.  A year ago I tried to use only Molot in test mixes and now I try to use the new plugin.

It is an interesting test. To compare the character of new plugin with Molot I used both of them for 8 track drum record which is the part of the mix I was experimenting with.

NOTE: These are soundcloud links but don’t press “play” button because due to mp3 soundcloud’s encoder they contain a lot of encoding artifacts. Just download these records (as 32-bit waves ~70 Mbytes each, press “arrow down” button to do it) and then listen to them.

#1. Molot compressor. Presets “kick”, “snare”, “overheads”, “room”, “DRUM BUSS”, “Master BUSS” were used. The sound is… aggressive and hammering! 🙂

http://soundcloud.com/vladg/molot-compressor-test

#2. New plugin was used for kick, snare, room tracks and drum and master busses. The sound is… For me it’s very soft, wide and with a lot of depth.

http://soundcloud.com/vladg/limiter6-vs-molot-compressor

#3. Molot plus new plugin. Molot plugin was used for kick, snare, overheads and room tracks. New plugin was used for drum and master busses. For me these plugins are like the best friends 🙂

http://soundcloud.com/vladg/molot-compressor-plus-limiter6

Also the screenshot of settings that were used:

Draft GUI in progress. Part 2.

The latest version for arrangement of controls is on the picture. The concept called “big indicators” 🙂

The signal chain is: RMS compressor -> Peak limiter -> HF limiter -> Clipper -> True peak limiter

The plan is:

  1. Prepare public alpha version of limiter plugin. This version will have draft GUI but all functionality included and working.
  2. Prepare next release of Molot compressor.
  3. Take a break and make photorealistic GUI for limiter plugin.

Good luck!

 

Hit Mix Engineer Chris ‘Von Pimpenstein’ Carter Embraces Freeware Plug-in Developers on Hit Single: Variety of Sound, Vladg Sound

FOR IMMEDIATE RELEASE:
 
Hit Mix Engineer Chris ‘Von Pimpenstein’ Carter Embraces Freeware Plug-in Developers on Hit Single: Variety of Sound, Vladg Sound.
 
By Mark Cutlass
 
“Vladg” and “Variety of Sound” are not names one commonly hears bandy-hood around professional recording studios where “Waves” and “UAD” are the standards. But that may be changing soon. Chris ‘Von Pimpenstein’ Carter, a hit mix engineer with multiple #1 hit records under his belt, is one of many prominent engineers embracing young plug-in developers who offer up their wares for free.

On the recent number one hit single “We Can’t” for Latvian based rockers Mr. Rally, Carter heavily employed freeware plugins, including Molot, Ferric TDS and Nasty DLA. Molot is a dual-mode freeware compressor offered up by Vladg/Sound that features a Neve 33609 style compressor and a Fairchild 670 style compressor housed in a retro Russian military GUI. “This has become like my go-to compressor,” says Carter, who employed Molot on vocals and distorted guitars. He continues, “I’m starting to even use it instead of hardware. It sounds killer almost every time on just about anything.” 

Nasty DLA, a freeware plugin by one of the more popular underground programmers, Variety of Sound, was used by Carter for delay throws on the lead vocal. The plugin emulates classic delays which employs chorus in the feedback loop. “You can get some great character from Nasty DLA, just like in the old days; it’s a plug I use frequently,” says Chris. Also by Variety of Sound, Ferric TDS, a KVR award winning plugin, emulates tape saturation – only without the wow and flutter. Carter employed Ferric TDS after mixbuss compression, “for a little extra oomph and glue which takes it to the next level for a rock mix,” he says.

In the post-DAW mixing world, many mix engineers get caught up in the large selection of plug-ins available, trying to find the one plug-in that will fit exactly what they are trying to do. That’s a mistake, according to Carter, who employs a much more organic approach to mixing. “Find things that are just plain ‘good’ and use them,” he says, “and don’t get so caught up in the technical.” He views himself not so much as a technical mixer, but as a creative and emotional mixer. This makes sense, as anyone can really learn the technical ins and outs of mixing a record, but breathing life into a record is what, according to Carter, makes a hit record. Bear in mind that while he doesn’t view himself as a technical mixer, he has a wealth of technical knowledge that can make anyone’s head spin. “The goal,” he says, “is to know the technical inside and out so well that you don’t have to think about it; it’s just intuitive and you can reserve all your brain power for generating emotion.” 

Carter works almost exclusively out of the Feisty Chicken, his own private recording studio which comes fully loaded with an abundance of hardware and plug-in options for processing. But how much something costs isn’t a criterion he employs when selecting an effect. “I could care less;” he says, “it doesn’t matter what something costs and if some freebie plug-in beats the snot out of the competition to get the sound I want, then so be it.” 

More info:
Chris Carter at The Feisty Chicken Recording Studio: http://www.feistychicken.com
Vladg/Sound: https://vladgsound.wordpress.com/
Variety of Sound: http://varietyofsound.wordpress.com/
Mr. Rally: www.mrrally.lv
 
Mark Cutlass is a freelance journalist who contributes to numerous pro audio magazines. He can be contacted at markcutlass1@gmail.com

Using SoX resampler in VST plugins

If you hear about SoX resampler and what SoX library is for the first time go and see the links.

Using SoX resampler inside plugin is quite simple. First, append these files of libsox (see the image, sox-14.3.2 was used in my example):

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