Mega Tutorials vol. 003 [Torrent] [36.56 GB]
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I recently watched a series of Groove 3 videos on how to get a vintage sound and VintageWarmer made an impactful appearance. The Groove 3 instructor was totally sold on it. So, here we are. VintageWarmer is most certainly an oldie.
Groove3 Studio One 4 Explained TUTORiAL
I recently watched a series of Groove 3 videos on how to get a vintage sound and VintageWarmer made an impactful appearance. The Groove 3 instructor was totally sold on it. So, here we are. VintageWarmer is most certainly an oldie. It was introduced in About a half-dozen years later, VintageWarmer2 was released. Version 2 offered 2X up-sampling, but was otherwise essentially the same as the original.
When you purchase Vintage Warmer, you actually get three modules: VintageWarmer2 has a higher latency than the earlier version, but the latency is still small enough to be insignificant for live use. Vintage Warmer is a plug-in available in formats compatible with all mainstream DAWs, both bit and bit. A fully-functional demo may be downloaded that is good for fourteen days. What It Is So what is this plug-in and how does it accomplish what the name suggests?
A FAQ entry near the end of the manual summarizes as follows: PSP VintageWarmer 2 uses a modified multi- and singleband brick-wall limiter algorithm to provide analog sounding saturation effects also help to maximize loudness in your recordings. It appears to be identical to VintageWarmer apart from an oversampling capability. The scaled-down MicroWarmer has the essential capabilities of VintageWarmer minus the multi-band option and minus frequency specification on the low and high-shelf filters.
Back when VintageWarmer was first introduced, computer resource conservation was far more critical than today, so using one of the lesser incarnations to save CPU cycles is far less compelling than it once was. The controls on the UI look a little like those on a typical compressor, but a read through the manual is recommended, and even then you may be somewhat puzzled.
Drive is the main control, as should be obvious from its size. If it also influences saturation levels, it does so in a way too subtle for me to detect. The Release control is a multiplier for that time, and the Long button further influences. The Auto button makes the release time content-dependent. After all that, there is no control for attack. Although the manual implies that Speed also influences attack, I found little noticeable effect in my own testing.
Ceiling appears to be a threshold adjustment. VW2 is far more a limiter than a compressor, so the default position of Ceiling corresponds to a limiting threshold of 0 dB, which is to be expected. I would guess that adjustment of this control is probably rarely needed.
Mix and Output need no explanation. Low Freq and High Freq specify the cutoff frequencies of the low and high-shelf filters in single-band mode, and in multi-band mode specify the crossover frequencies. Low and High specify the shelf filter levels in single-band mode and are apparently ignored in multi-band mode. We will focus here mainly on single-band mode. Other controls could be tweaked, but he mainly sticks with Drive and Knee, and restricts their settings to fairly low values for both.
When I first experimented with VW2, I found these controls did nothing more than raise the volume when restricted to their lower ranges. We covered this marvelous tool in depth not long ago in SoundBytes Magazine, and you can find that article here. Drive just raises the level in a linear fashion. Increasing Knee also increases input gain. OK, with that established, the really interesting analysis is ahead of us, and that would be the Harmonic analysis.
In Harmonic mode, Plugin Doctor sends a sine wave at a fixed frequency into the plug-in under test and displays the results. The frequency used in this case is around 53 Hz. With all other controls at their default level, we see the results of respective Drive settings of The numbers on the Y-axis are hard to see, but just know that the horizontal lines are spaced 25 dB apart.
With Drive at less than zero, we see that VW2 has no effect on the input signal. But starting with Drive set to 0, we get harmonics added. With Drive at 0, we see these harmonics scarcely topping dB, meaning they are probably not even audible.
We also see a lot of aliasing, but these spikes are so low under dB that are without doubt inaudible and of no consequence whatever. This is the Oscilloscope display, which reveals no surprise that VW2 is essentially a soft clipper. Plugin Doctor sends in a sine wave peaking at 0 dB and shows what comes out. It seems to me that there is at least one important takeaway: That is, your audio should be peaking at close to 0 dB.
Recall from the graphs above that unless the signal is being limited, VW2 leaves it as is. If you add more Drive or more Knee, the sound gets louder. An automatic level compensation feature would be most useful here. Now, combining the above two points, another lesson is this: There are a number of useful presets included with all three versions, and these can get you off to a good start.
There are a number of presets that take advantage of the multi-band setting on VW2. I spent little time with these, probably because I had less of an idea of what was really happening inside the plug-in and shied away.
I suspect most users will wish to ignore these as their purpose will likely be a bit obscure to the typical home-studio mixer. But sticking with the basic function, the Vintage Warmer trio is fairly easy to understand and effectively apply.
For more information, go here: Vintage Warmer is also sold by numerous online music-software retailers.
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The course is laid-out logically, and the video production is professionally done. The only thing I would suggest is putting together a track list that might help practise things like beat-matching and mixing as most of the tracks in my own library are relatively complex and multi-layered. GustavGustaveson Studio One 4 Advanced Great for expanding knowledge Although one may not use all the functions of Studio One, the extra knowledge that this course provides gave me a better understanding of the character of this DAW software. The presenter is well organized and the pacing is good. I’d suggest this presenter use annotation to point to things on the screen he wants you to look at, rather than rapidly shaking the mouse pointer, which can be quite distracting at times. It stands very strong against the other top DAW’s. Only minor complaint is that it is so very fast that it will require several listens to really get wrapped around the information.
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