Let me know your favourite plugins

  • Yes, thanks for the tip about that plugin!


    I also noticed they have a correction kit for monitors. That would be a cheaper way to tailor my speakers to my room peculiarities. But I've heard such solutions aren't very reliable. Likely to be better than an untreated room though.


    Can someone tell me what it means by one instance and two instance? Does it mean I can only use the software once, for one room? Or does it mean on one computer?


    While such plugins and programs don't fix all problems, they can help. I don't use it as a replacement, but as a supplement to room treatment. You need to treat first reflection points, and get at least SOME broadband absorbers in the corners. From that point, the software can help further.



    Can you quote the section about one instance you mention?

  • While such plugins and programs don't fix all problems, they can help. I don't use it as a replacement, but as a supplement to room treatment. You need to treat first reflection points, and get at least SOME broadband absorbers in the corners. From that point, the software can help further.


    Can you quote the section about one instance you mention?



    Sure, it says: The bundle includes:


    1 instance of Sonarworks Reference 3 speaker and room calibrator software (Mac or Win)
    2 instance of Sonarworks Reference 3 AU, AAX Native, RTAS and VST plug-ins (Mac or Win)


    Now with something like Cubase, this only means I can run on one computer at a time. Or with say Toontrack, I can link the license to a certain number of machines.


    But in this case, it sounds like I can only activate the license once on one computer and then cannot use it again without buying a fresh license.


    And if I want to use it with more than one audio programme on the same computer, I only have the option of using the plugin in two of them.


    Does that make sense?



    instance = license to use on a number of computers in this case



    Yes, but I'm wondering what it means in terms of using the software again if I buy a new computer? I wouldn't share it around, but I would like to use it on my personal machine if I change it.





    If I miss the target in Singapore, it's okay because the penalty for use of a firearm in this country is death :D

  • I think you can transfer the license to a new computer - which means you can't use it on the old computer anymore, but you shouldn't have to buy the plugin twice.


    You can ask them, if you can't find tha answer on their FAQ page. They're really good about support, and usually fast to respond (though they're quite busy at the moment)


    Every so often they have a discount on some of their products, so subscribe to their mailing list, you'll get notified.



    If you don't have any room treatment and proper setup placement-wise, I wouldn't bother with the speaker correction plugin - just get the headphone one.


    By the way, with regards to bass response (evenness), the first thing to do is find a good listening spot in the room - after that comes the treatment.
    I have SOME bass trapping (it's actually broadband absorbers, to be specific - 4 inch rockwool panels) in the corners, but the biggest improvement of trouble spots came from making sure the monitors and listening position are in the right spots. I think there's a certain threshold you have to get over in order for bass trapping to have a really big impact, which I've not reached.

  • I think you can transfer the license to a new computer - which means you can't use it on the old computer anymore, but you shouldn't have to buy the plugin twice.


    You can ask them, if you can't find tha answer on their FAQ page. They're really good about support, and usually fast to respond (though they're quite busy at the moment).



    Great, the information is on the website. License can be transferred to another computer and the plugin can be used in two instances simultaneously, which should be more than enough.



    Every so often they have a discount on some of their products, so subscribe to their mailing list, you'll get notified.


    Thanks for the tip!



    If you don't have any room treatment and proper setup placement-wise, I wouldn't bother with the speaker correction plugin - just get the headphone one.


    I thought this plugin was specifically for use in sub-par rooms rather than treated spaces.

  • I thought this plugin was specifically for use in sub-par rooms rather than treated spaces.


    Hmmm.... Depending on your definition of sub-par...


    Most rooms no matter how well treated will have SOME irregularities.


    I will say that this is not a plugin for the best studios in the world, but neither is it for a completely untreated room. I'd simplify it and say it's for a somewhat well treated room (or very well treated, but with less than optimal dimensions etc). There are problems that stuff like this simply cannot fix. (some) dips/nulls for one. echo for another. Reverb time irregularities, questionable. Phase issues, also questionable. Other EQ irregularities: somewhat.


    The better the outset, the better the result. If you start out with a bad room, you will still end up with a bad room.


    Hence my suggestion to use it in combination with a GOOD set of open-back headphones - buy those from the company so you get a tailor-made calibration file.


    Don't buy it unless you FIRST (as in: before purchasing) treat your room, at least the first reflection points, and some bass trapping (broadband absorbers in the corners - as many as you can get), and get the stuff placed where it gives the most equal sound.


  • Unfortunately, treatment isn't very practical in this house, with the landlord having rules against using nails. I am considering getting some stick on hooks though, maybe sticking some foam to a board and hanging it up. Maybe get some rockwool and do the same to create broadband absorbers.

  • I use Waves and Izotope. Waves are having weekly deals and one off specials all priced in $. Some real bargains in there.
    I started with Native Power pack and added from there. Works with Cubase and Wavelab. There is no subscription as such, its an update plan which you can take or leave. Izotope have more of an 'all in one' type offering with Ozone. If you don't go for the advanced version its reasonably priced too.

    You're damned if you do and damned if you don't

  • Unfortunately, treatment isn't very practical in this house, with the landlord having rules against using nails. I am considering getting some stick on hooks though, maybe sticking some foam to a board and hanging it up. Maybe get some rockwool and do the same to create broadband absorbers.


    Well, I built panels using a certain kind of rigid rockwool - that IS actually RIGID :) (not like "rigid fiberglass).
    I found some cheap open-pored fabric (not quite "burlap-open", but close enough for me) and wrapped them in those. Used a simple glue gun to seal it in. Very simple. Didn't photo document it or anything, but it's simple. (use gloves and clothes you don't wear anymore - those fibres are ITCHY!!!)


    Note: those rockwool batts should de-gass before hanging them up inside! I did that in my storage room in the basement - opened the packs, and positioned them so air could get to all the big surfaces - let them stand for a month. I don't know if you have that option. But they smell very bad and very strongly when you open the pack, and for health reasons they should degass before putting them in living quarters.



    Anyway, I've just stood them in the corners (the 4 inch ones), and put the first reflection panels (2 inches thick) on book cases / chests of drawers, leaning against the wall. Works fine!


    The Danish trade name of these are "ROCKWOOL Terrænbatts Erhverv", and you can probably contact rockwool to get the trade name where you live.

  • Before buying treatments and other plugins than you were originally thinking of, surely the better option would be mixing on cans you're familiar with and listening back via a variety of speakers, from shitty in built computer speakers to the best you have. This is how people will listen to the songs you make not in a treated room with rectifying software running. Just my opinion ofc …

  • Before buying treatments and other plugins than you were originally thinking of, surely the better option would be mixing on cans you're familiar with and listening back via a variety of speakers, from shitty in built computer speakers to the best you have. This is how people will listen to the songs you make not in a treated room with rectifying software running. Just my opinion ofc …


    Hope this doesn't sound arrogant or anything, but this is a common misconception :)


    You're right about referencing multiple speakers (this should probably always be done, and is also done by professional people in GREAT rooms) - and about GOOD headphones might be a more feasible route for many people than treating a room sufficiently.


    But it's a misconception that you will get good enough results mixing mainly on "consumer" stuff. A good room, with good treatment and flat monitors (perhaps including software such as sonarworks) is how you ensure that the mix sounds as good as it can on ALL systems.


    If you mix in a situation where you have a big at 200-400 Hz you'd end up with mixes that have an overabundance of these frequencies. Another listener might be in a situation where their system has a BOOST in this area - that would be "200-400 Hz Happy hour" (double up on these freqs).


    The professional records you hear have almost all been mixed in a "flat"/neutral environment.


    You can learn to compensate SOMEWHAT, but if you have "disappearing" frequencies, how do you deal with that?


    Referencing CAN alleviate the problems - but it makes for a hell of a lot more work to work around it.

  • It's not arrogant, you obviously know your stuff. My comments simply come from thinking about the OP and the idea of buying more plugins to improve the mix. I replied as above because it seemed the OP was transferring to another 'fix' that costs money rather than using what he has to get the best possible first.


    Please forgive me if I'm wrong about that, @nightlight



  • This is the major problem with my setup. Ideally, I should have spent at least as much, or at least half as much, as I spent on speakers on treating my room.


    This renders my monitors as reliable as a cheaper pair.




    It's not arrogant, you obviously know your stuff. My comments simply come from thinking about the OP and the idea of buying more plugins to improve the mix. I replied as above because it seemed the OP was transferring to another 'fix' that costs money rather than using what he has to get the best possible first.


    Please forgive me if I'm wrong about that, @nightlight


    I'm not saying that my mixes are absolutely the worst. :D


    They are balanced coming out of my monitors, my computer speakers, my mobile phone speakers and my iPod. So the mixing is not the problem.


    But when I compare it to professional recordings, I always fall flat. This I attribute to the mastering that I do, I am unable to get my recordings to have that bright and over-the-top character that some of these recordings have.


    Mine sound muted in comparison. I am pretty sure some good plugins could get me past this barrier.


    I am quite happy with the tools like the compressor and EQ in Cubase. But I think the mastering plugins are very lacking. There just are not a lot, especially when you compare it to some of the commercial offerings out there.

  • I just discovered that the driver in one of my monitors has gone bad. One is louder than the other, really messing up the stereo imaging.


    Tried a bunch of things like changing cables, and changing outputs on my interface.


    Also tried with a commercial recording to make sure it was not something with my recordings! Angel of Death should not be quieter on one side.


    Bummer.

  • But when I compare it to professional recordings, I always fall flat. This I attribute to the mastering that I do, I am unable to get my recordings to have that bright and over-the-top character that some of these recordings have. Mine sound muted in comparison. I am pretty sure some good plugins could get me past this barrier.


    Hi, maybe Aphex Vintage Aural Exciter plugin from Waves (demo or when in special deal) will help you.. :)

  • Bummer about the speaker!


    When you say your songs lack the brighter character that other mixes have - I would probably categorize this as a mixing issue rather than a mastering issue. Mastering is not really intended to give you a brighter mix. Only if the MIX is lacking to begin with. You should get the frequency balance right and final in mixing, not mastering.

  • Bummer about the speaker!


    When you say your songs lack the brighter character that other mixes have - I would probably categorize this as a mixing issue rather than a mastering issue. Mastering is not really intended to give you a brighter mix. Only if the MIX is lacking to begin with. You should get the frequency balance right and final in mixing, not mastering.


    Perhaps bright is not the right description. Some recordings just "pop" when you listen to them, not sure how you would describe the processing that's applied.


    Hi, maybe Aphex Vintage Aural Exciter plugin from Waves (demo or when in special deal) will help you.. :)



    Thanks for the suggestion!

  • Bummer about the speaker!


    When you say your songs lack the brighter character that other mixes have - I would probably categorize this as a mixing issue rather than a mastering issue. Mastering is not really intended to give you a brighter mix. Only if the MIX is lacking to begin with. You should get the frequency balance right and final in mixing, not mastering.


    Taking stock of your suggestion, I've pulled the trigger on an Avantone Mixcube. Maybe focusing a bit more on the midrange of my mix will help make things shine through.

  • I'm probably going to say lots that's already been mentioned. The secret to excellent mixes, is not what gear you have (a £50 guitar through a £20 amp isn't going to help things much) its all down to arrangement, the players and good decisions in pre production. Put this together with a great mix engineer in a great room with great gear and everything should sound good. Don't go chasing the next best marketed plugin (been there done that) people were making great sounding records on sub par gear to what we have now a days many years ago. I'm still on pro tools 10 HD and have been for years, haven't brought many new plugins for years either. I've go my arsenal of gear that I'm familiar with and know how to use and I'm sticking with it. A well treated room will help your mixes so much, before I mixed in a treated room my mixes where always lacking bass when played anywhere else. The room was adding bass to my mixes which I thought was there in the recording. My advice is get a well treated room, some fairly good studio monitors, a range of plugins and practise, practise, practise. Those great sounding mixes will come trust me.