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Post by Guitar on Jul 13, 2021 8:07:28 GMT -6
Just read the manual and keep it on insane for cranking input, saturation, and under 10ms attack rate. slick eq Ge is my fave though. Just the auto volume match makes it worth it to me. i only have the free molot version. do i miss a lot vs the GE? You're missing the saturation, which is a huge difference, big draw of the GE. As well as the limiter, knee control, and the input drive knob. I'm sure Dan can tell you more. I haven't messed with the dual stage compressor but Molotok is missing that, too. GE also has feed forward, feed back, and lo fi modes. And yet more, the smiley face, frowny face, mid frequency knob. So, that's a lot that's missing.
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Post by theshea on Jul 13, 2021 9:38:50 GMT -6
ok. i suspect molotov ge is mostly overkill for me. i am a simple man: the fewer knobs, the better :-). set and forget is more me.
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Post by Deleted on Jul 13, 2021 12:07:53 GMT -6
Just read the manual and keep it on insane for cranking input, saturation, and under 10ms attack rate. slick eq Ge is my fave though. Just the auto volume match makes it worth it to me. i only have the free molot version. do i miss a lot vs the GE? You’re missing insane mode with working ultra fast attack times and adjustable dual time constants. GE is a true extension of the original free plugin. Molotok is gimped for all purposes and sounds and behaves worse. In general, the paid Gentleman’s Editions of the Tokyo Dawn plugs are a lot more useful than the free versions, which are essentially demos.
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Post by Deleted on Jul 13, 2021 12:10:59 GMT -6
i only have the free molot version. do i miss a lot vs the GE? You're missing the saturation, which is a huge difference, big draw of the GE. As well as the limiter, knee control, and the input drive knob. I'm sure Dan can tell you more. I haven't messed with the dual stage compressor but Molotok is missing that, too. GE also has feed forward, feed back, and lo fi modes. And yet more, the smiley face, frowny face, mid frequency knob. So, that's a lot that's missing. Yes I forgot about the feedback being absent in most alpha sigma weightings of Molotok. You want feedback compression to be on msot of the time theshea for more natural results with Molot GE.
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Post by jmoose on Jul 13, 2021 23:34:15 GMT -6
I find it somewhat amusing... funny...
A thread on what your good or not so good at... brainpower vs execution +/- 3dB... would devolve into talk about equipment. And more so fake equipment. Plug ins..?
Someone. Anyone. Feels their good or bad at that..? Virtual equipment?? Like virtual hearing? Virtual brainpower..!?
Going full sling blade... funny haha or funny queer?
The equipment doesn't control the music.
You have to have the idea in your head before you can get it out of your head.
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Post by Deleted on Jul 14, 2021 5:47:40 GMT -6
I find it somewhat amusing... funny... A thread on what your good or not so good at... brainpower vs execution +/- 3dB... would devolve into talk about equipment. And more so fake equipment. Plug ins..? Someone. Anyone. Feels their good or bad at that..? Virtual equipment?? Like virtual hearing? Virtual brainpower..!? Going full sling blade... funny haha or funny queer? The equipment doesn't control the music. You have to have the idea in your head before you can get it out of your head. I think sometimes we need to take the idea and then scale it up. Use a power drill instead of a needle, backhoe instead of a shovel. -3 db brainpower? It’s more like take that hunch and make it reality by almost decking the knob / virtual knob and pulling back. Ive learned the hard way that those small cuts barely work on close miced recordings. Speaker response in anechoic chambers is usually over that unless it’s some complex crossover bs you’ll perceive to not be flat anyway from some weird lack of power response at certain frequencies. A domestic room? A rusted out 90s Toyota pickup truck being driven around a Southeast Asian jungle? God knows. Close micings pick up a ton of weird shit that must be eliminated. My last project had a - 15 db 150 hz mud cut on the guitars and a -7db small cabinet resonance cut at like 700 hz to make those mmm and on the drums, a -12 db 400hz filter to get rid of weird boxy squeaking. I wrongly hesitated a bit on the 150hz and the 400hz but it was the only way to clarity. The weird shit has to be nuked to sound real.
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Post by Deleted on Jul 14, 2021 6:18:06 GMT -6
Then A lot of huge popular music goes overboard eqing 1-4khz with parametric eqs to fit vocals around a bunch of instruments for some 6.5” coaxial car speaker and tiny metal phone speaker. Parametric eqs inflicting sonic violence upon the recording. But what they don’t think about is how the sound doesn’t scale up on better systems, it just gets weirder the more the mid midrange and upper mids get filtered and you end up with recordings that don’t scale to bigger and better systems at all.
Especially with the intense limiting now. Put that on a big system with depth and its just flat, a ghost, paper thin image of what was once was with whatever little ambience that was there wrenched out of it. It’s just flat with a super high distortion floor from the limiting to the point where presenting it in cd quality is overkill. The streams could crunch it down to 8 bit Nintendo quality with a dither and nobody really would notice much of a a difference.
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Post by EmRR on Jul 14, 2021 8:49:02 GMT -6
Being an IT/librarian/mouse navigator while trying to take performance notes during takes. Engineer/producer.
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