Building a useful plugin list with a limited budget can be challenging, but it's a fantastic exercise that encourages exploration of available options. Here's my list: SSL 4000 E, iZotope mix/master bundle, Metric A/B, Liquidsonics Seveth heaven, Klanghelm MJUC, DC8C, SDRR & VUMT dlx, Standard Clip, D16 Repeater, RX 11 Standard, DMG Essence and Limitless. Having to choose only three I would say SSL 4000 E, 7th heaven and DC8C3
Menno updated Ceilings of Sound last week and it has every QOL feature you could imagine. It’s such a great tool for deciding where you want to take a track. I typically make the actual eq moves with analog gear but monitor via COS. Love it
Still no regrets with my virtual studio 😉 Definitely the thing to consider is both what comes with your DAW and what you can get for free (yes, Analog Obsession =] ). For instance, Cubase has a slew of metering options (SuperVision) and thus negates the need to get metering from a third-party. Their Frequency 2 is comparable to FabFilter’s Pro-Q3. The Pro version for sure has the ability to align drum and vocal tracks. So your DAW should take you quite far. That said: can’t go wrong with FabFilter or sonible. Musik Hack’s MasterPlan is quite sweet. P.S. I still have a very complicated relationship with Waves. Let’s just say that I understand why they do what they do *but* I think there’s room for improvement =]
I think the plugin alliance subscription was the final nail in the waves coffin. Nobody on the market can compete with that amount of options. Waves hasn't released a decent plugin in about a decade 🤣
Would love to see you break down ceilings of sound, Paul! The videos that are currently available aren’t that helpful imo. Looking to dial in my vocal sound better, I just recently bought the Pro version.
I made a post for patreon members as I couldn't be bothered making a video and being slated by the Internet dummies who cant fathom the logic or approach
When thinking about a building a studio on a budget I have always thought about yearly paid plugin subscriptions. This is of course a grey area for most but also so is owning a plugin. You have no idea how long it'll be supported and for that reason you don't really ever own it. Then I thought is, a subscription will always give me the latest from the company and maybe older plugins get supported for longer thanks to the revenue they gain from subscriptions. My next thought is, if I have a studio, what am I doing if I can not afford to pay 2 to 4 yearly plugin subscriptions easily with the earnings? It's like the test if it is a viable business to go into. The problem is, there are many not available on subscriptions. I myself also am coming back in after what I knew years ago so only can go by recommendations and my own intelligence via mistake buys in the past also. The best focus is to get very high end monitoring and use stock plugins to begin with
But then, if you're going to *really* build a studio on a budget - i.e. spend as little as possible, rather than spending *to* a figure - you would learn to do everything with stock plugins .
Hi, could you guys investigate the 117 bits mode in Kirchoff EQ? Seems like it's the only EQ that works beyond 64 bits, and frankly with 117 bit mode engaged + 2x oversampling, this thing sounds exceptionnal. The manual says that in this mode, cumulative errors in EQ process are basicaly none and you can clearly hear how smooth and transparent a 10db boost can sound on a master. I'm just shocked. Could Paul investigate this cumulative error concept in digital EQ processing and give us some wisdom ? Thank you.
Fully nulled Nulled 117 bit. Showed it on my kirchhoff review. Doesn't add anything audible and I had it doing various filters and even dynamics. Wasnt even a signal above -100dbfs. Full null. Its a very simple test. Just duplicate the master with same processing. Switch off 117 bit and flip the polarity. Null will show you the actual difference. If you think you hear a difference even though you get a full null, it's pure placebo
Have to say, I really don't relate to discussions of plugins like these ... Basic additive processing and creative techniques have created most of the sound we associate with modern music, so are these plugins seen as like macros for a bunch of accumulated processes and techniques, are they doing something that can't be achieved traditionally or is it a case of being "black boxes" where you like what adding Black Box 1 does and then it's easier to just also get Black Box 1 rather than work out how to do the same with basic tools? Or something else? When I'm playing about with music (as a hobby, can't call it work), I have an idea of what I want to change with the sound for expressive purposes .. I don't have a sonic signature I'm trying to match that I've specifically heard elsewhere (other than my brain having picked up sounds generally over my life) so .. I work out how to change what I want to change with the tools I have. Can someone help me understand the perspective I'm not getting? My synicisim turns to it being a case of consumerism and being presented with products to use.. leading to some kind of self-identity relationship ... much like the millions of different, hair-type or hair-aspirarional specific hair care products which I'm sure those into hair will feel their choice of hair products are essential for them.
Some tools do a very specific job that stock tools may not give you. Some may have better workflow that makes you work quicker. I find most plugins I choose are specifically to make me work faster and more efficiently. Time is money
@@WorkingAudioTools I guess that could be why I don't relate ... For me, the time to find out about, research, listen to, check how I get on with their interfaces ... takes up time and pulls me away from the enjoyable part, making music or honing my mixing ear / taste. Almost feels like you have to have a passion for plugins first to even go there and dive in. I similarly can't relate to modular synths, yet know folks who are really into learning, researching, and spending their way through the thousands of modules out there! Seems such a time-suck. Meanwhile, creatively thinking up ways to process sound from the basic tools and techniques feels so much more engaging and brain-firing to me.. I realise, it's probably a minority take, given how many today are brought up on the plugin world .. personal preference on my part.
@@listenfidi I think at its core, it’s a 3 band multiband compressor, so you could either turn down the big knob to reduce its effect (if you bought it) or just use whatever multiband you have otherwise. I believe the crossovers are at 161hz and 2.5k and (low) 3:1, 50ms attack/1000ms release- (mid) 2:1, 20ms/1000ms- (high) 3:1, 14ms/1000ms and just play around with a parallel blend or set the thresholds to do less gain reduction
I thought there is like 5 or 6 different modules to god particle no? I was under the impression that it was a parallel of an ozone 7 preset that also included an imager and a few other things alongside multi band compression
@@WorkingAudioTools yeah it is. I was just stripping it down to the key component since he said it was too heavy handed. Theres a subtle eq, tape saturation, width, limiter etc in the actual plugin
With the amount of money I spent on plugins, I probably could’ve build a decent home studio with acoustic treatment and great monitors instead of renting a studio as I do now 🥲
40:52 Top 3 - ProQ3 / Elysia Alpha / Safari Pedals Lion Master
Building a useful plugin list with a limited budget can be challenging, but it's a fantastic exercise that encourages exploration of available options. Here's my list: SSL 4000 E, iZotope mix/master bundle, Metric A/B, Liquidsonics Seveth heaven, Klanghelm MJUC, DC8C, SDRR & VUMT dlx, Standard Clip, D16 Repeater, RX 11 Standard, DMG Essence and Limitless. Having to choose only three I would say SSL 4000 E, 7th heaven and DC8C3
Thanks for sharing
Menno updated Ceilings of Sound last week and it has every QOL feature you could imagine. It’s such a great tool for deciding where you want to take a track. I typically make the actual eq moves with analog gear but monitor via COS. Love it
QOL?
Quality of life@@WorkingAudioTools
@@WorkingAudioTools quality of life
Cheers bois
Still no regrets with my virtual studio 😉
Definitely the thing to consider is both what comes with your DAW and what you can get for free (yes, Analog Obsession =] ). For instance, Cubase has a slew of metering options (SuperVision) and thus negates the need to get metering from a third-party. Their Frequency 2 is comparable to FabFilter’s Pro-Q3. The Pro version for sure has the ability to align drum and vocal tracks. So your DAW should take you quite far.
That said: can’t go wrong with FabFilter or sonible. Musik Hack’s MasterPlan is quite sweet.
P.S. I still have a very complicated relationship with Waves. Let’s just say that I understand why they do what they do *but* I think there’s room for improvement =]
I think the plugin alliance subscription was the final nail in the waves coffin. Nobody on the market can compete with that amount of options. Waves hasn't released a decent plugin in about a decade 🤣
@@WorkingAudioTools I can say this much: I will continue to use them as long as it’s viable. But I understand completely if no one else wants to 😁
"that's a shit joke" 🤣🤣🤣🤣🤣🤣
Haha. Proof you were watching until the end🤣🤘
A few timestamps would be appreciated!!
MAutoDynamicEQ will track the fundamental & do harmonics (Surfer alternative)
Ahhhh. Now it makes sense why a certain mixer we know swears by autodynamicEQ. How do you do that in the plugin?
Would love to see you break down ceilings of sound, Paul! The videos that are currently available aren’t that helpful imo. Looking to dial in my vocal sound better, I just recently bought the Pro version.
I made a post for patreon members as I couldn't be bothered making a video and being slated by the Internet dummies who cant fathom the logic or approach
When thinking about a building a studio on a budget I have always thought about yearly paid plugin subscriptions.
This is of course a grey area for most but also so is owning a plugin.
You have no idea how long it'll be supported and for that reason you don't really ever own it.
Then I thought is, a subscription will always give me the latest from the company and maybe older plugins get supported for longer thanks to the revenue they gain from subscriptions.
My next thought is, if I have a studio, what am I doing if I can not afford to pay 2 to 4 yearly plugin subscriptions easily with the earnings?
It's like the test if it is a viable business to go into.
The problem is, there are many not available on subscriptions.
I myself also am coming back in after what I knew years ago so only can go by recommendations and my own intelligence via mistake buys in the past also.
The best focus is to get very high end monitoring and use stock plugins to begin with
Yeah or you buy the "industry standards" as they will always be supported as long as they are needed. Bar waves plugins, just sack them off completely
But then, if you're going to *really* build a studio on a budget - i.e. spend as little as possible, rather than spending *to* a figure - you would learn to do everything with stock plugins .
Hi, could you guys investigate the 117 bits mode in Kirchoff EQ? Seems like it's the only EQ that works beyond 64 bits, and frankly with 117 bit mode engaged + 2x oversampling, this thing sounds exceptionnal. The manual says that in this mode, cumulative errors in EQ process are basicaly none and you can clearly hear how smooth and transparent a 10db boost can sound on a master. I'm just shocked. Could Paul investigate this cumulative error concept in digital EQ processing and give us some wisdom ? Thank you.
Fully nulled Nulled 117 bit. Showed it on my kirchhoff review. Doesn't add anything audible and I had it doing various filters and even dynamics.
Wasnt even a signal above -100dbfs. Full null.
Its a very simple test. Just duplicate the master with same processing. Switch off 117 bit and flip the polarity. Null will show you the actual difference. If you think you hear a difference even though you get a full null, it's pure placebo
@@WorkingAudioTools I was a happy man before reading this... 😒
Soz
Mspecral dynamins by melda was my first plugin similar to soothe, i just didnt like the workflow on it
That's the main issue with a lot of melda plugins, is the workflow aspect
Have to say, I really don't relate to discussions of plugins like these ... Basic additive processing and creative techniques have created most of the sound we associate with modern music, so are these plugins seen as like macros for a bunch of accumulated processes and techniques, are they doing something that can't be achieved traditionally or is it a case of being "black boxes" where you like what adding Black Box 1 does and then it's easier to just also get Black Box 1 rather than work out how to do the same with basic tools? Or something else?
When I'm playing about with music (as a hobby, can't call it work), I have an idea of what I want to change with the sound for expressive purposes .. I don't have a sonic signature I'm trying to match that I've specifically heard elsewhere (other than my brain having picked up sounds generally over my life) so .. I work out how to change what I want to change with the tools I have.
Can someone help me understand the perspective I'm not getting? My synicisim turns to it being a case of consumerism and being presented with products to use.. leading to some kind of self-identity relationship ... much like the millions of different, hair-type or hair-aspirarional specific hair care products which I'm sure those into hair will feel their choice of hair products are essential for them.
Some tools do a very specific job that stock tools may not give you. Some may have better workflow that makes you work quicker.
I find most plugins I choose are specifically to make me work faster and more efficiently. Time is money
@@WorkingAudioTools I guess that could be why I don't relate ...
For me, the time to find out about, research, listen to, check how I get on with their interfaces ... takes up time and pulls me away from the enjoyable part, making music or honing my mixing ear / taste. Almost feels like you have to have a passion for plugins first to even go there and dive in.
I similarly can't relate to modular synths, yet know folks who are really into learning, researching, and spending their way through the thousands of modules out there! Seems such a time-suck.
Meanwhile, creatively thinking up ways to process sound from the basic tools and techniques feels so much more engaging and brain-firing to me..
I realise, it's probably a minority take, given how many today are brought up on the plugin world .. personal preference on my part.
God particle makes the mix too hyped, don't like it.
@@listenfidi I think at its core, it’s a 3 band multiband compressor, so you could either turn down the big knob to reduce its effect (if you bought it) or just use whatever multiband you have otherwise. I believe the crossovers are at 161hz and 2.5k and (low) 3:1, 50ms attack/1000ms release- (mid) 2:1, 20ms/1000ms- (high) 3:1, 14ms/1000ms and just play around with a parallel blend or set the thresholds to do less gain reduction
I thought there is like 5 or 6 different modules to god particle no? I was under the impression that it was a parallel of an ozone 7 preset that also included an imager and a few other things alongside multi band compression
@@WorkingAudioTools yeah it is. I was just stripping it down to the key component since he said it was too heavy handed. Theres a subtle eq, tape saturation, width, limiter etc in the actual plugin
Yeah just being the overall affect down if it's too much. 100% on the plugin is actually 50% wet.
With the amount of money I spent on plugins, I probably could’ve build a decent home studio with acoustic treatment and great monitors instead of renting a studio as I do now 🥲
Yeah 🫤🫤
We've all been there. It's sickening looking back. Dunno what me and Ed would have potentially spent if we hadn't have started youtube haha