Hey Jordan! Good video and I appreciate your comments on "choosing which reality" you want to live in. there is so much negativity that derails many of us, so thanks for the encouragement. I just picked up the clipper and looking forward to using it! Keep up the good work!
So, might be a longshot, but an intuitive gate plug-in. The purpose of it being able to gate drums more easily without fiddling with so many controls. In addition, being able to in a way, compress down the nasty high end from cymbal bleed while still retaining the attack from the drum. On top of that, algorithm can rely on A.I. to detect what to let through without having to fiddle with HPF/LPF controls, eliminating more guessing. For me, gating has been really hit or miss, so hopefully the rough ideas make sense. I simply just want gating to be easier. Of course, it varies so much from each set of recorded drums, but anything can help. Hope this is useful! 😄 Already have the rough name figured out 😅 BSA GATE / GATING.SIMPLIFIED. / $99
Hi Jordan, good to hear that your persistence has paid off. There is always some type of niche that someone with good insight can make headway with. Unfortunately, social media hate from apparent experts is a reality nowadays...best taken with a grain of salt...pardon the pun. In regard to the pricing models, it is truly insane how the discount schemes run continuously, which makes it hard to judge what the real price is. But you raised a really interesting point that from the professional point of view - certain well used plugins are worth more than their weight in gold, but an argument could be made that from an amateur point of view, where mixing and making music is more of a hobby - the 'full price' of plugins is extraodinarily expensive, so the discounts are what make it accessible. As an amateur I've managed to collect a number of good plugins over the last few years picking them up here and there, but could never justify paying full price for my own use - unless I became even a part time pro. The number of great free and stock plugins also muddies the water in understanding what the true sale value of plugins should be. Good to hear another perspective. I've never really been a fan of easy plugins whre you're not quite sure what they're doing but will have to check out the low control plugin - sounded great.
Making an impact on the industry you love. Such a great lens to view things through. Thanks for all the advice. Super heplful video for someone learning to build plugins. 🙏
Ratter then suggest a new plugin for development, I would ask to you to provide native Apple silicon versions of the current plugins ASAP, since it become a prerequisite for any plugin buy after I got a M1 mac for my studio. Thanks a lot for you insights and keep up that nice work of yours!
LOVE Escalator!!! I’ve had it for a year. Irreplaceable plug in for me. Thank you for all the knowledge Jordan. My mixes now hold up played next to pro stuff, almost completely because of you. Thank you!!
Great vid and perspective on everything! My plugin suggestion is to create a plugin for mixing notes where it has a way to add a checklist for completing task while mixing, your own revision notes and client revision notes. Also, having the main categories that you teach in Hardcore Mixing. You could even have presets and artist presets. I think you could innovative it so it is dead simple and not a lot of baggage and pushes you to complete tasks to get your mixes done. I've looked and there isn't a plugin out there like this that I've seen. Currently I use a spreadsheet for this but within Pro Tools would be a better workflow. Keep up the good work bro!
Man, that first plug-in you said you shelved sounds like it would’ve been awesome. I think it would be cool to see a simplified parallel drum compression plugin. Like 5 buttons max, a mix knob, comp intensity, maybe a few styles of compressor, and built in routing. Basically just simplify to 1-3 controls.
Congrats. Big fan of your plugins - especially Clipper - it’s the intuitive, great sounding clipper I’ve been search for for years. Your intuition was spot on - there was a gap in the market. I love using it to push material before limiting. Keep up the great work. Aside - Low Control is fast becoming my replacement for Double-Tap .. Cheers.
Ironically that Ballpark plugin you were talking about sounded great :) Love the transparency over the plugin business, and of course seeing the salty haters being wrong is always amazing. Well done team!
Truly appreciate your transparency in this video as well as why and how- very inspiring on approach! I also enjoyed your perception of plugins which is quite similar to mine (I take usability and the way they model business practices such as sales, messaging, etc the same way). Sometimes it feels like slick marketing is behind a lot of these plugins but using them is a whole different experience depending on work flow- I’m all about efficiency so appreciate you taking that into consideration with your plugins and looking forward to picking them up one day!
Jordan!! Please make a buss compressor that goes on the main buss THAT HAS A SIDECHAIN KNOB!! Let those lows through! An upgrade on the ssl buss comp!!
Thanks Jordan. Another great video! On the pricing side I like the comment from w2dv below. I think the plug in business is subject to the Nash equilibrium (race to the bottom) and yield management. i.e. there might be a hundred people who will pay $1000 but 10,000 who will pay $100.
Since you focus on heavier music, a Channel Strip like Korneffs AIP is really unique. Sure strips have been done to death but this makes guitar mixing so much easier. That Insufferable Mid Range filter is a godsend.
Interesting lessons thanks for sharing! I would do a plugin called "Amp Blend" where you can put typical amp combinations on Guitar DI Recordings. Eg. you have 2 mono guitar tracks (2 different recordings). then you select eg. an orange rockerverb style amp simulator on recording A and a 5150 style amp simulator an recording B. so you can try instantly different amp blendings that are already tested and well established. and the whole plugin should come with as few knobs as possible. and if you select a new blending of 2 amps eg. on recording A it automatically changes on Recording B...something in this direction. Cheers
1: A "cross-plugin super separator" as in Dan Worrall's "The Super Separator Trick" video. It's a really really great technique, but a huge pain in the arse to set everything up 2: A good multiband gate or something like an auto-filter gate (like Tominator by Joey Sturgis Tones, only in better -> I've unfortunately never managed to get a usable sound out of this plugin. The controls aren't very intuitive, has a somewhat useless range and the plugin is way too aggressive imo) 3: A good upwards compressor (to bring out detail without stomping everything to death)
Hey Jordan, thanks for sharing your behind the scenes experience! I bought the Clipper, the whole concept (your secret behind loud mixes) was a real eye opener. About your question for a new plug-in. Your Ballpark concept sounded interesting, but I guess it was very (too) similar to iZotope's Tonal Balance Control. But your ballpark idea got me thinking. The iZotope plug-in is a ballpark for the whole, final mix. What would be very interesting for (Pop)Rock/Metal music is a variation of the Ballpark plug-in for individual instruments or busses. Like a ballpark for the drummix, a ballpark for the bass, a ballpark for rhythm guitars, a ballpark for lead guitars, for vocals etc. (It would help to arrange parts and separate various frequency ranges, creating space for i.e. vocals etc.) Maybe this is a direction that sounds too complicated and extensive, but it could be very simple for each individual (instrument) approach. What would separate it from iZotope's Tonal Balance Control is that this could be applied on a bunch of submixes instead of the final mixbus. (With Tonal Balance Control, we can't reverse engineer different instrument spectrums from a professional reference track / final mix. With analyzing professional stems of various instruments, including recordings from your own productions, you can easily get all the source data you need.) Well, maybe this concept will change your "ballpark" perspective. Cheers and good luck with your business.
Much thanks for sharing your growing experienced based knowledge. It's so refreshing to hear you highlight how the constant discount marketing, devalues the innovation that some companies bring with their products, and is cheapened by a banking mentality that doesn't even love music and the art of sound production. Worth has to be acknowledge to the music production process, especially when a product is digital, created without a 1000 middle men, but by few people in a team that are passionate about creating practical products of excellence, that can also provide a healthy profit to live on and expand a range. Because one is independent , doesn't mean they should be ashamed of making a healthy profit without be a marketing jester.
Honestly, I love me some great equalizers (API 560, graphic EQs, etc), compressors, and multi-band compressors (C4, C6)… I’d love to get a variety of simple but flexible and powerful tools from you guys. Maybe a stereo 2-in-1 variable dual delay with reverb slider? Automatically hard pans the delays and lets you adjust a built-in reverb. Would be amazing for those Devin Townsend style projected vocal tracks (solo, gang, or choirs) on busses sidechains and submixes. Lastly, maybe a virtual plate reverb designer? Something to treat the busses for vocals, synths, drums, guitars, etc. Maybe even for mastering!
It's nice to hear your business success story and the demos sound great, so hats off to you! I'm not sure I agree with everything you say on plug-in pricing. If plug-ins like these were actually worth $500 or more, plug-in companies would charge that and people would buy them for that price. But when you sell software, there is a point at which you'll have recouped your development costs, after which your profit margin grows with every next sale, so price competition starts to make sense in a competitive market. I understand that you'll need some revenue to maintain software compatibility, fix bugs and invest in marketing and support, but I'm glad that there is competition between plug-in companies to drive prices down so that the economic advantages of selling software at scale can be shared between users and sellers, instead of only going to the latter. Anyway, in the end it sounds like you're making nice products that people are happy with, so congratulations and well done!
Gotta say, I love Clipper. Super simple to use and does exactly what I want it to do - great for getting the snare in the pocket. It's a shame that Ballpark plugin didn't work out - sounds like a great concept but I guess there are mix environment simulators from the likes of Waves that do a similar job. I prefer the sound of Ballpark though!
Thanks for sharing your insights . I appreciate people like you, that take risks and move forward the development of inspiring audio software. How to do deal with copy protection? This might be a difficult and frustrating subject. What is your experience?
I want to have an AI that can double a single track. Just feed it hundreds of tight left and right guitar recordings so it pick up on the slight changes between the recordings and be able to process a good single take into a doubled tracked.
In Ableton I do this by detecting transients of a good take, duplicating it, time warping to an off set percentage to a grid. Randomize the pitch very slightly, and using different fx and guitar tone. Sounds like a lot of work but really only takes about 4 minutes and sounds very convincing
@@theaudiorampage Main thing is playing with what grid to warp to and how much percentage. Less is more sometimes. Also you can play with warping types for neat fx if you use Ableton.
Awesome, there's always room for improvement in any industry! This may not even be possible as a plugin. But wouldn't it be amazing if you could have a spectrum and/or dynamics analyzer on each bus channel, and connect it to another instance of that analyzer on the master bus, allowing you to analyze where issues are coming from? The master analyzer could have various visualization modes for all the information that it receives from the others, like each spectrum in a different color, or accumulated on top of each other. There's probably a way to do that while sticking with VST3...
Have you looked into porting to the Waves API so us live engineers can use the plugins within the SoundGrid ecosystem? There’s a whole other side of the market you could be reaching :)
That's great that everything for your partner worked out. I didn't doubt you for a second. I still believe in protecting labour, and paying someone in 100% commission is brutal. Both of these things can be true. Congrats on the success.
I've always wanted *a plugin that could use some kind of AI and/or machine learning that could convincingly create a fake second take. Basically a modernized version of what ADT was trying to do back in the '60s* So for example I take a guitar direct track, feed it into the plugin, and it changes the timing of the notes, intonation, and the pick attack and such to create a convincing second take for double tracking. I don't always get double or quad tracked guitars and vocals, and this way I don't have to phone up the artist to get what I need for the mix. Give me controls for tightness (how much timing variation I want to make it tighter or looser to the original take), pitch (how much I want the pitch to change on a cents level), and punch for the attack. Maybe a sustain control as well. As far as I'm aware nothing like this exists, and it's likely because it's a massive undertaking, but it's the only plugin I've ever thought I've needed but didn't have while mixing. Ideally it's usable for guitars and vocals (vocals more ideally since you could always play a guitar again as the engineer, whereas I don't sing like the artist)
I think there are "doubler" plugins out there, but having one with maybe more randomness built in would be cool because I think the ones that I've seen basically just add a double which is exactly a certain number of cents up or down and/or a certain delay. To really nail the charm of a doubled vocal or guitar, I would say it would need to have a *range* of pitch and timing which it fluctuates within.
You make some good points about some things here. But the comment about plugin company's always being discounted or on sale makes no sense because what customer doesn't want that? That strategy endears the customer to them more for the future. Yes PA went a little too ridiculous with it but I wasn't mad about it. Apple has the power to rarely discount their items through longevity and brand dominance they've established. You'd rather sell 4 plugins at $75 each instead of 10 plugins for $30 each which at this point in the company is a bit bizarre.
maybe I am way off, but i would love a pricing model in general on this and other industries that works well both for amateur users and pro users. for example if i need to mix only few songs for my band I don't have the ROI of a pro mixer so i might end up skipping the purchase. monthly subscriptions or long term licensing works a bit in that direction but has also other types of drawbacks.
Loved the buisness aspects of this video. I tried all the plugins and I think the focus on the super clean UI and intuitive UX are a great selling point for Black Salt Audio. But unfortunatly, I always ended prefering the results I had with other solutions, so not a fit for me at least for now :)
Congratulations... I bought clipper because it's price and then tested escalator. Both amazing... People said that escalator didnt have controls and complain about it... It doesn't need more controls, we want to work faster and not waste time... I tested escalator against PA HG 2, Harmonics by softube and decapitator and for me escalator wins...
Don't know much about this industry or music in general, but one aspect that I miss is that software requires maintenace in order to stay relevant. Maybe its a bit simpler in this space not sure, but if the software the plugin is used with is updated aren't you required to update the plugin? Maybe not everytime depending on what the update is but still missing this perspective. Is that something you have taken in to consideration and what does that process look like? Thanks for interesting content and pov!
yes, it's a big job to keep the plugins compatible with multiple DAWs and OS's. It's a big expense. This is why the subscription model is popular for plugin companies... the industry is in a bit of a bad spot where consumers expect plugins to cost $20 and stay compatible for 5-10 years.
Hey Jordan, this is an interesting video. My idea for a plug in? A one band dynamic EQ called Sidechain specifically for kick and bass. I also wasn’t a fan of the prominent Yum Audio logo in the Escalator plug in. Whilst they are the developers, to me it makes the plug in seem a bit cheap/amateur since it is being sold under the BSA umbrella-just my opinion though. I like the philosophy of making it enjoyable to use and having a fixed price. I do think oversampling is important and hope to see that in future updates, plug ins etc.
Hey buddy.....I would love to see a new parallel Bass Amp and cab simulator, one where you can adjust treble zing and crunch, earth shaking lows.....and punchy mids.... 3 or 4 channels working independently.....but also have a built in out of phase eliminator. Having 3 or 4 bass tracks in DAW processed differently....can cause wacky phase effects.
Here's an idea. A plug in that frees the Pro Tools MIX window from the workspace to allow it to live on another monitor. Stretching the workspace over multiple monitors is clunky and does not allow for some configurations.
I wish there was a good plugin that functions like Pro Tools Strip Silence for non pro tools users. Also a plugin that centers the low end of a track simply.
Hey Jordan...great video! Plugin I wished someone would make? A decent analog delay with separation for left/right channels - similar to the one in Pro Tools
On the point that good plugins have to cost a lot of money, I partially agree with this statement, but the problem is that in many countries $500 is a monthly salary. And I can't imagine a situation where a novice mix engineer invests so much money in ONE plugin. Such prices will lead people to use torrents instead of buying plugins (not to mention that right now all Black Salt Audio plugins can be found on torrent websites).
Want to be a #venturebuilder or #venturecreator? Most of the initial feedback you'll get from 'others' online with no skin in the game - is likely to be ALL negative.
@@hardcoremusicstudio well for me the points he stated were pretty good reasons. Maybe another reason would be a correction video from that person, since I'm pretty sure he would make one the second you'd drop that update. But you do business the way you want. I just wouldn't want to introduce aliasing distortion by accident, would feel a lot better if the plugin didn't do that. The thing he did were replicable in plugin doctor. At this time I don't feel good buying, but I'm considering it. Maybe I'm an idiot for believing what someone on UA-cam has to say, but that's how I learn, and I also learned this way from you.
I’ll tell you what nobody has perfected yet - audio to midi and real time chord analysis (displays chords being played.. and maybe even create a lead sheet). I think even RipX does a terrible job.
Paying a good amount of money for a plug-in (like $500) for something that you’d use day in and out as a professional makes sense only if you’re a professional that makes money from music. 99.999% of people that buy plugins make zero money from it. I’d also venture to say, the people that buy the most plugins are the same type of people that think if they buy more guitars, it’s going to make them a better guitar player. Appreciate the transparency with your plug-in company!
I think at least starting to learn code wouldn't hurt you and just being the "Idea's guy" and thinking anything Apple means quality is laughable, you're not Fabfilter they CAN demand a good slab of money for their tools. Even Steve Duda of Serum fame started with no knowledge with coding. Even some coding would be real skin in the game.
Damn producers are lazy these days, no wonder music is shytt. All this can be done at the mixing desk with a minimum of outboard gear (or plugins of outboard gear).
Hey Jordan! Good video and I appreciate your comments on "choosing which reality" you want to live in. there is so much negativity that derails many of us, so thanks for the encouragement. I just picked up the clipper and looking forward to using it! Keep up the good work!
Love the plugins man! BSA Clipper has been added to most of my newer mixes, cant wait for more!
So, might be a longshot, but an intuitive gate plug-in. The purpose of it being able to gate drums more easily without fiddling with so many controls. In addition, being able to in a way, compress down the nasty high end from cymbal bleed while still retaining the attack from the drum. On top of that, algorithm can rely on A.I. to detect what to let through without having to fiddle with HPF/LPF controls, eliminating more guessing. For me, gating has been really hit or miss, so hopefully the rough ideas make sense. I simply just want gating to be easier. Of course, it varies so much from each set of recorded drums, but anything can help. Hope this is useful! 😄
Already have the rough name figured out 😅
BSA GATE / GATING.SIMPLIFIED. / $99
Sonnox Drum Gate is pretty much this...
I've been watching your videos since about 2016 and it's super inspiring to see your come up from then to now having your own plugin company 🔥
Hi Jordan, good to hear that your persistence has paid off. There is always some type of niche that someone with good insight can make headway with. Unfortunately, social media hate from apparent experts is a reality nowadays...best taken with a grain of salt...pardon the pun. In regard to the pricing models, it is truly insane how the discount schemes run continuously, which makes it hard to judge what the real price is. But you raised a really interesting point that from the professional point of view - certain well used plugins are worth more than their weight in gold, but an argument could be made that from an amateur point of view, where mixing and making music is more of a hobby - the 'full price' of plugins is extraodinarily expensive, so the discounts are what make it accessible. As an amateur I've managed to collect a number of good plugins over the last few years picking them up here and there, but could never justify paying full price for my own use - unless I became even a part time pro. The number of great free and stock plugins also muddies the water in understanding what the true sale value of plugins should be. Good to hear another perspective. I've never really been a fan of easy plugins whre you're not quite sure what they're doing but will have to check out the low control plugin - sounded great.
Making an impact on the industry you love. Such a great lens to view things through. Thanks for all the advice. Super heplful video for someone learning to build plugins. 🙏
Ratter then suggest a new plugin for development, I would ask to you to provide native Apple silicon versions of the current plugins ASAP, since it become a prerequisite for any plugin buy after I got a M1 mac for my studio. Thanks a lot for you insights and keep up that nice work of yours!
I honestly didn’t think we needed more plugins, but glad you’re successful!
So happy for ya to hear it paid off! Stick at it 🔥
That ballpark plugin does sound amazing though...
LOVE Escalator!!! I’ve had it for a year. Irreplaceable plug in for me. Thank you for all the knowledge Jordan. My mixes now hold up played next to pro stuff, almost completely because of you. Thank you!!
Amazing to hear, thanks Jesse!
Great vid and perspective on everything! My plugin suggestion is to create a plugin for mixing notes where it has a way to add a checklist for completing task while mixing, your own revision notes and client revision notes. Also, having the main categories that you teach in Hardcore Mixing. You could even have presets and artist presets. I think you could innovative it so it is dead simple and not a lot of baggage and pushes you to complete tasks to get your mixes done. I've looked and there isn't a plugin out there like this that I've seen. Currently I use a spreadsheet for this but within Pro Tools would be a better workflow. Keep up the good work bro!
Man, that first plug-in you said you shelved sounds like it would’ve been awesome.
I think it would be cool to see a simplified parallel drum compression plugin. Like 5 buttons max, a mix knob, comp intensity, maybe a few styles of compressor, and built in routing. Basically just simplify to 1-3 controls.
Congrats. Big fan of your plugins - especially Clipper - it’s the intuitive, great sounding clipper I’ve been search for for years. Your intuition was spot on - there was a gap in the market. I love using it to push material before limiting. Keep up the great work. Aside - Low Control is fast becoming my replacement for Double-Tap .. Cheers.
Ironically that Ballpark plugin you were talking about sounded great :)
Love the transparency over the plugin business, and of course seeing the salty haters being wrong is always amazing. Well done team!
Truly appreciate your transparency in this video as well as why and how- very inspiring on approach!
I also enjoyed your perception of plugins which is quite similar to mine (I take usability and the way they model business practices such as sales, messaging, etc the same way).
Sometimes it feels like slick marketing is behind a lot of these plugins but using them is a whole different experience depending on work flow-
I’m all about efficiency so appreciate you taking that into consideration with your plugins and looking forward to picking them up one day!
It takes a lot of positivity and intelligence to counteract the negativity and ignorance.
needed to see this cause im planning to make my own plug-in company soon and i had some doubts from reddit naysayers, so thanks!!
Not a plugin per se but what about something like HEAT for non pro tools users?
Hornet analog stage does something like that apparently
Jordan!! Please make a buss compressor that goes on the main buss THAT HAS A SIDECHAIN KNOB!! Let those lows through! An upgrade on the ssl buss comp!!
The SSL Native Buss Comp has a sidechain and a mix knob, plus 2x and 4x oversampling. it's really nice.
Thanks Jordan. Another great video! On the pricing side I like the comment from w2dv below. I think the plug in business is subject to the Nash equilibrium (race to the bottom) and yield management. i.e. there might be a hundred people who will pay $1000 but 10,000 who will pay $100.
Since you focus on heavier music, a Channel Strip like Korneffs AIP is really unique. Sure strips have been done to death but this makes guitar mixing so much easier. That Insufferable Mid Range filter is a godsend.
Thank you for your honesty and insight in the business side of things.
Interesting lessons thanks for sharing! I would do a plugin called "Amp Blend" where you can put typical amp combinations on Guitar DI Recordings. Eg. you have 2 mono guitar tracks (2 different recordings). then you select eg. an orange rockerverb style amp simulator on recording A and a 5150 style amp simulator an recording B. so you can try instantly different amp blendings that are already tested and well established. and the whole plugin should come with as few knobs as possible. and if you select a new blending of 2 amps eg. on recording A it automatically changes on Recording B...something in this direction. Cheers
1: A "cross-plugin super separator" as in Dan Worrall's "The Super Separator Trick" video. It's a really really great technique, but a huge pain in the arse to set everything up
2: A good multiband gate or something like an auto-filter gate (like Tominator by Joey Sturgis Tones, only in better -> I've unfortunately never managed to get a usable sound out of this plugin. The controls aren't very intuitive, has a somewhat useless range and the plugin is way too aggressive imo)
3: A good upwards compressor (to bring out detail without stomping everything to death)
God bless you for making that Clipper!!! It’s so perfect!
Hey Jordan, thanks for sharing your behind the scenes experience! I bought the Clipper, the whole concept (your secret behind loud mixes) was a real eye opener. About your question for a new plug-in. Your Ballpark concept sounded interesting, but I guess it was very (too) similar to iZotope's Tonal Balance Control. But your ballpark idea got me thinking. The iZotope plug-in is a ballpark for the whole, final mix. What would be very interesting for (Pop)Rock/Metal music is a variation of the Ballpark plug-in for individual instruments or busses. Like a ballpark for the drummix, a ballpark for the bass, a ballpark for rhythm guitars, a ballpark for lead guitars, for vocals etc. (It would help to arrange parts and separate various frequency ranges, creating space for i.e. vocals etc.) Maybe this is a direction that sounds too complicated and extensive, but it could be very simple for each individual (instrument) approach. What would separate it from iZotope's Tonal Balance Control is that this could be applied on a bunch of submixes instead of the final mixbus. (With Tonal Balance Control, we can't reverse engineer different instrument spectrums from a professional reference track / final mix. With analyzing professional stems of various instruments, including recordings from your own productions, you can easily get all the source data you need.) Well, maybe this concept will change your "ballpark" perspective. Cheers and good luck with your business.
Much thanks for sharing your growing experienced based knowledge. It's so refreshing to hear you highlight how the constant discount marketing, devalues the innovation that some companies bring with their products, and is cheapened by a banking mentality that doesn't even love music and the art of sound production. Worth has to be acknowledge to the music production process, especially when a product is digital, created without a 1000 middle men, but by few people in a team that are passionate about creating practical products of excellence, that can also provide a healthy profit to live on and expand a range. Because one is independent , doesn't mean they should be ashamed of making a healthy profit without be a marketing jester.
Honestly, I love me some great equalizers (API 560, graphic EQs, etc), compressors, and multi-band compressors (C4, C6)… I’d love to get a variety of simple but flexible and powerful tools from you guys.
Maybe a stereo 2-in-1 variable dual delay with reverb slider? Automatically hard pans the delays and lets you adjust a built-in reverb. Would be amazing for those Devin Townsend style projected vocal tracks (solo, gang, or choirs) on busses sidechains and submixes.
Lastly, maybe a virtual plate reverb designer? Something to treat the busses for vocals, synths, drums, guitars, etc. Maybe even for mastering!
that locontrol looks interesting
It's nice to hear your business success story and the demos sound great, so hats off to you!
I'm not sure I agree with everything you say on plug-in pricing. If plug-ins like these were actually worth $500 or more, plug-in companies would charge that and people would buy them for that price. But when you sell software, there is a point at which you'll have recouped your development costs, after which your profit margin grows with every next sale, so price competition starts to make sense in a competitive market. I understand that you'll need some revenue to maintain software compatibility, fix bugs and invest in marketing and support, but I'm glad that there is competition between plug-in companies to drive prices down so that the economic advantages of selling software at scale can be shared between users and sellers, instead of only going to the latter. Anyway, in the end it sounds like you're making nice products that people are happy with, so congratulations and well done!
So if I understand correctly, you paid/pay COO to run operations, and paid developer to go 100% comission based, right?
Gotta say, I love Clipper.
Super simple to use and does exactly what I want it to do - great for getting the snare in the pocket.
It's a shame that Ballpark plugin didn't work out - sounds like a great concept but I guess there are mix environment simulators from the likes of Waves that do a similar job.
I prefer the sound of Ballpark though!
I got the clipper plugin. I like the GUI and simplicity!
Thanks for sharing your insights . I appreciate people like you, that take risks and move forward the development of inspiring audio software. How to do deal with copy protection? This might be a difficult and frustrating subject. What is your experience?
Youve done well man, haters are gonna hate, normally from envy.
I want to have an AI that can double a single track. Just feed it hundreds of tight left and right guitar recordings so it pick up on the slight changes between the recordings and be able to process a good single take into a doubled tracked.
You want the AI to also make the tune and a sandwich too eh?
In Ableton I do this by detecting transients of a good take, duplicating it, time warping to an off set percentage to a grid. Randomize the pitch very slightly, and using different fx and guitar tone.
Sounds like a lot of work but really only takes about 4 minutes and sounds very convincing
@@Username_Invalid that's genius. I'm def going to try it
@@theaudiorampage Main thing is playing with what grid to warp to and how much percentage. Less is more sometimes. Also you can play with warping types for neat fx if you use Ableton.
Awesome, there's always room for improvement in any industry!
This may not even be possible as a plugin. But wouldn't it be amazing if you could have a spectrum and/or dynamics analyzer on each bus channel, and connect it to another instance of that analyzer on the master bus, allowing you to analyze where issues are coming from? The master analyzer could have various visualization modes for all the information that it receives from the others, like each spectrum in a different color, or accumulated on top of each other. There's probably a way to do that while sticking with VST3...
Have you looked into porting to the Waves API so us live engineers can use the plugins within the SoundGrid ecosystem? There’s a whole other side of the market you could be reaching :)
A simplified vocal tuner/pitcher would be interesting to see
That's great that everything for your partner worked out. I didn't doubt you for a second. I still believe in protecting labour, and paying someone in 100% commission is brutal. Both of these things can be true. Congrats on the success.
I've always wanted *a plugin that could use some kind of AI and/or machine learning that could convincingly create a fake second take. Basically a modernized version of what ADT was trying to do back in the '60s* So for example I take a guitar direct track, feed it into the plugin, and it changes the timing of the notes, intonation, and the pick attack and such to create a convincing second take for double tracking. I don't always get double or quad tracked guitars and vocals, and this way I don't have to phone up the artist to get what I need for the mix. Give me controls for tightness (how much timing variation I want to make it tighter or looser to the original take), pitch (how much I want the pitch to change on a cents level), and punch for the attack. Maybe a sustain control as well. As far as I'm aware nothing like this exists, and it's likely because it's a massive undertaking, but it's the only plugin I've ever thought I've needed but didn't have while mixing. Ideally it's usable for guitars and vocals (vocals more ideally since you could always play a guitar again as the engineer, whereas I don't sing like the artist)
I think there are "doubler" plugins out there, but having one with maybe more randomness built in would be cool because I think the ones that I've seen basically just add a double which is exactly a certain number of cents up or down and/or a certain delay. To really nail the charm of a doubled vocal or guitar, I would say it would need to have a *range* of pitch and timing which it fluctuates within.
You make some good points about some things here. But the comment about plugin company's always being discounted or on sale makes no sense because what customer doesn't want that? That strategy endears the customer to them more for the future. Yes PA went a little too ridiculous with it but I wasn't mad about it. Apple has the power to rarely discount their items through longevity and brand dominance they've established. You'd rather sell 4 plugins at $75 each instead of 10 plugins for $30 each which at this point in the company is a bit bizarre.
maybe I am way off, but i would love a pricing model in general on this and other industries that works well both for amateur users and pro users. for example if i need to mix only few songs for my band I don't have the ROI of a pro mixer so i might end up skipping the purchase. monthly subscriptions or long term licensing works a bit in that direction but has also other types of drawbacks.
Support you, these plugins are nice to use
Loved the buisness aspects of this video.
I tried all the plugins and I think the focus on the super clean UI and intuitive UX are a great selling point for Black Salt Audio.
But unfortunatly, I always ended prefering the results I had with other solutions, so not a fit for me at least for now :)
Product idea: a simple vocal (and guitar) doubler that actually sounds good, that strengthens the vocal instead of making it sound weird and phasey.
Congratulations... I bought clipper because it's price and then tested escalator. Both amazing... People said that escalator didnt have controls and complain about it... It doesn't need more controls, we want to work faster and not waste time... I tested escalator against PA HG 2, Harmonics by softube and decapitator and for me escalator wins...
Don't know much about this industry or music in general, but one aspect that I miss is that software requires maintenace in order to stay relevant. Maybe its a bit simpler in this space not sure, but if the software the plugin is used with is updated aren't you required to update the plugin? Maybe not everytime depending on what the update is but still missing this perspective. Is that something you have taken in to consideration and what does that process look like?
Thanks for interesting content and pov!
yes, it's a big job to keep the plugins compatible with multiple DAWs and OS's. It's a big expense.
This is why the subscription model is popular for plugin companies... the industry is in a bit of a bad spot where consumers expect plugins to cost $20 and stay compatible for 5-10 years.
Keep it up my man!
If you make your own amp sim, I would buy that so fast.
1176 and La 3a in one box that would be awesome
BEAT DETECTIVE/ DRUM QUANTIZING WORKFLOW PLUGIN FOR ALL DAWS - please and thank you!
What is the price of your pro course...so I can get the finances
Loving soft clippper
About how much did it cost to hire yum audio to build this plugin?
Hey Jordan, this is an interesting video. My idea for a plug in? A one band dynamic EQ called Sidechain specifically for kick and bass. I also wasn’t a fan of the prominent Yum Audio logo in the Escalator plug in. Whilst they are the developers, to me it makes the plug in seem a bit cheap/amateur since it is being sold under the BSA umbrella-just my opinion though. I like the philosophy of making it enjoyable to use and having a fixed price. I do think oversampling is important and hope to see that in future updates, plug ins etc.
Can you add over sampling to the plugins please?
Why?
Hey buddy.....I would love to see a new parallel Bass Amp and cab simulator, one where you can adjust treble zing and crunch, earth shaking lows.....and punchy mids.... 3 or 4 channels working independently.....but also have a built in out of phase eliminator. Having 3 or 4 bass tracks in DAW processed differently....can cause wacky phase effects.
Here's an idea. A plug in that frees the Pro Tools MIX window from the workspace to allow it to live on another monitor. Stretching the workspace over multiple monitors is clunky and does not allow for some configurations.
I wish there was a good plugin that functions like Pro Tools Strip Silence for non pro tools users. Also a plugin that centers the low end of a track simply.
ReEQ does the same for reaper
Hey Jordan...great video!
Plugin I wished someone would make? A decent analog delay with separation for left/right channels - similar to the one in Pro Tools
Great idea
On the point that good plugins have to cost a lot of money, I partially agree with this statement, but the problem is that in many countries $500 is a monthly salary. And I can't imagine a situation where a novice mix engineer invests so much money in ONE plugin. Such prices will lead people to use torrents instead of buying plugins (not to mention that right now all Black Salt Audio plugins can be found on torrent websites).
You have to have sales.
Only suckers buy any VST at full price.
Want to be a #venturebuilder or #venturecreator? Most of the initial feedback you'll get from 'others' online with no skin in the game - is likely to be ALL negative.
DON'T BELIEVE THE HYPE !
Plugin to make gated Snares simple
You could use an fx pedal send.
I think there too expensive for what they are to many plugings that do the same thing not saying there no good just to expensive for new company
I'll buy all your plgins even tho i use crack gear.. Cause i can hear a masterpiece on work every work buddy... Thnk you!
Can you please introduce oversampling on Oxygen?
Maybe... is there any reason aside from someone made a youtube video about it?
@@hardcoremusicstudio well for me the points he stated were pretty good reasons. Maybe another reason would be a correction video from that person, since I'm pretty sure he would make one the second you'd drop that update. But you do business the way you want. I just wouldn't want to introduce aliasing distortion by accident, would feel a lot better if the plugin
didn't do that. The thing he did were replicable in plugin doctor. At this time I don't feel good buying, but I'm considering it. Maybe I'm an idiot for believing what someone on UA-cam has to say, but that's how I learn, and I also learned this way from you.
I’ll tell you what nobody has perfected yet - audio to midi and real time chord analysis (displays chords being played.. and maybe even create a lead sheet). I think even RipX does a terrible job.
Are you serious? Moises does real time chord analysis.
Paying a good amount of money for a plug-in (like $500) for something that you’d use day in and out as a professional makes sense only if you’re a professional that makes money from music. 99.999% of people that buy plugins make zero money from it. I’d also venture to say, the people that buy the most plugins are the same type of people that think if they buy more guitars, it’s going to make them a better guitar player. Appreciate the transparency with your plug-in company!
I think at least starting to learn code wouldn't hurt you and just being the "Idea's guy" and thinking anything Apple means quality is laughable, you're not Fabfilter they CAN demand a good slab of money for their tools.
Even Steve Duda of Serum fame started with no knowledge with coding. Even some coding would be real skin in the game.
Damn producers are lazy these days, no wonder music is shytt. All this can be done at the mixing desk with a minimum of outboard gear (or plugins of outboard gear).