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Post by kcatthedog on Feb 19, 2023 11:20:30 GMT -6
Already did thx!
I was really only commenting on the two different price models, UA scrambling to gain new clients, revenues by lowering prices, others launching high .
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Post by Deleted on Feb 19, 2023 11:53:06 GMT -6
Already did thx! I was really only commenting on the two different price models, UA scrambling to gain new clients, revenues by lowering prices, others launching high . Well MDWDRC2 works internally a little differently than standard compressors. It’s a new way and costs more. TDR is usually cheap but even the DeEdger and SimuLathe were expensive. I’m sure when the average audio computer get faster, similar tools could be built and brought to market with even less artifacts, even more detectors, a lookahead beyond a simple delay, and be even more controllable beyond a peak crest knob or slider. Look at the controls in Flux, DMG, Unisum and imagine if they were easy to use and cleaner, putting more of the weirder options as program dependencies behind the scenes. unfortunately the level of technical knowledge is about zero for the average person buying plugins now. Most of them can’t even set a compressor with two knobs by ear like the various leveling amplifiers, nevertheless know what the switches do. Add the inexperience with good software and zero experience with any hardware and you get some crazy presumptions presented as facts about a lot of equipment and processors by severely misguided angry people who don’t know how to use an analyzer or oscilloscope and want to defend their purchases or products that they have a financial incentive in. This is the case for most of the big gear forums with sponsorships. |
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Post by kcatthedog on Feb 19, 2023 12:18:23 GMT -6
I guess value, is like beauty, in the eye of the beholder?
UA is currently selling Ultimate 11 for $1500, historically 3-4x that price for about 100 plug ins or new plugs priced like this for one.
I am not saying its a bad plug in, just vastly different value proposition .
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Post by Deleted on Feb 19, 2023 13:14:38 GMT -6
I guess value, is like beauty, in the eye of the beholder? UA is currently selling Ultimate 11 for $1500, historically 3-4x that price for about 100 plug ins or new plugs priced like this for one. I am not saying its a bad plug in, just vastly different value proposition . You don’t need those UAD plugs though. They’re mostly older emulations of older, less flexible hardware and they’re not as effective as what that hardware can do. Something like Kotelnikov GE or MDWDRC2 can do much more, much cleaner. |
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Post by kcatthedog on Feb 19, 2023 15:25:28 GMT -6
We aren’t having the same conversation  |
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Post by viciousbliss on Feb 20, 2023 5:19:20 GMT -6
I was hearing problems with this one in various scenarios from the get-go. Enough that I just backed off most controls and used the lightest controls possible. So many were raving about this that I second guessed myself and got it right before the intro price expired. Guess the intro price deadline did its job. The main reason I got it was because so many experienced and articulate people on this forum and others said it was groundbreaking. I figured if it didn't sound right, it must've been a problem with me since so many said the DRC2 is nearly flawless. My main issue with it is the cpu usage.
But I don't like to use much plugin compression aside from Molot GE. Even then I don't crank it. I'd often rather use the new L1 at the end of a track over a compressor if I absolutely have to tame something. In mastering, I seemingly prefer to push Fusion's Vintage Drive into the red to compress dynamics over plugin compressors. One of these days I'll have to try another hardware compressor over at Access Analog. I liked the way their free Daking or whatever it was sounded on my mixes, but I preferred the results I got with Fusion. There's the Art VLAII tube compressor I know some people here and on other forums like. Lot of people hate it too though. I've seen it used for around $200, if I remember.
This DRC2 is not transparent. It does something to change the material. Maybe it's saturating the lows or doing something else to sort of cut them, because it doesn't retain the sound of anything I run through Fusion first. Doesn't matter how I set it.
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Post by kcatthedog on Feb 20, 2023 7:08:55 GMT -6
Demo the art b4 you buy.
I rented the art pre and comp for some stereo drum/percussion
tracking, more eye than ear candy for me.
Ymmv!
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Post by Deleted on Feb 20, 2023 13:58:37 GMT -6
I was hearing problems with this one in various scenarios from the get-go. Enough that I just backed off most controls and used the lightest controls possible. So many were raving about this that I second guessed myself and got it right before the intro price expired. Guess the intro price deadline did its job. The main reason I got it was because so many experienced and articulate people on this forum and others said it was groundbreaking. I figured if it didn't sound right, it must've been a problem with me since so many said the DRC2 is nearly flawless. My main issue with it is the cpu usage. But I don't like to use much plugin compression aside from Molot GE. Even then I don't crank it. I'd often rather use the new L1 at the end of a track over a compressor if I absolutely have to tame something. In mastering, I seemingly prefer to push Fusion's Vintage Drive into the red to compress dynamics over plugin compressors. One of these days I'll have to try another hardware compressor over at Access Analog. I liked the way their free Daking or whatever it was sounded on my mixes, but I preferred the results I got with Fusion. There's the Art VLAII tube compressor I know some people here and on other forums like. Lot of people hate it too though. I've seen it used for around $200, if I remember. This DRC2 is not transparent. It does something to change the material. Maybe it's saturating the lows or doing something else to sort of cut them, because it doesn't retain the sound of anything I run through Fusion first. Doesn't matter how I set it. MDWDRC2 is not the one saturating that insert chain. You're asking it to apply smooth but drastic leveling to something that has no dynamics and massive distortion from whatever drastic non-linear transfer curve the Fusion has. MDWDRC2 has some aliasing and intermodulation distortion in the treble but it is very low distortion. It is just bringing up whatever low level crap the Fusion is doing. Almost every single compressor without massive amounts of distortion will have smoother action than a glorified soft clipper.
Why don't you just buy the Daking Comp II? It comes with either transformer or electrical balancing.
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Post by viciousbliss on Feb 20, 2023 16:40:00 GMT -6
I was hearing problems with this one in various scenarios from the get-go. Enough that I just backed off most controls and used the lightest controls possible. So many were raving about this that I second guessed myself and got it right before the intro price expired. Guess the intro price deadline did its job. The main reason I got it was because so many experienced and articulate people on this forum and others said it was groundbreaking. I figured if it didn't sound right, it must've been a problem with me since so many said the DRC2 is nearly flawless. My main issue with it is the cpu usage. But I don't like to use much plugin compression aside from Molot GE. Even then I don't crank it. I'd often rather use the new L1 at the end of a track over a compressor if I absolutely have to tame something. In mastering, I seemingly prefer to push Fusion's Vintage Drive into the red to compress dynamics over plugin compressors. One of these days I'll have to try another hardware compressor over at Access Analog. I liked the way their free Daking or whatever it was sounded on my mixes, but I preferred the results I got with Fusion. There's the Art VLAII tube compressor I know some people here and on other forums like. Lot of people hate it too though. I've seen it used for around $200, if I remember. This DRC2 is not transparent. It does something to change the material. Maybe it's saturating the lows or doing something else to sort of cut them, because it doesn't retain the sound of anything I run through Fusion first. Doesn't matter how I set it. MDWDRC2 is not the one saturating that insert chain. You're asking it to apply smooth but drastic leveling to something that has no dynamics and massive distortion from whatever drastic non-linear transfer curve the Fusion has. MDWDRC2 has some aliasing and intermodulation distortion in the treble but it is very low distortion. It is just bringing up whatever low level crap the Fusion is doing. Almost every single compressor without massive amounts of distortion will have smoother action than a glorified soft clipper.
Why don't you just buy the Daking Comp II? It comes with either transformer or electrical balancing.
Not many Daking Comp IIs on the used market, and looks like they cost almost as much as a new one. I'll have to try AA's again and see what I think. With the DRC2, seems like there wasn't a lot of time to investigate everything while the intro price was going on. Hell, the manual wasn't even ready. I've not tried it with Fusion since I started cranking Vintage Drive/Density into the red. That's the sound that impressed me from using it through AA. I just didn't realize that I accidentally drove it that hard through their plugin during my original tests until now. The waveform still looks good, no clipped peaks or anything. |
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Post by Deleted on Feb 20, 2023 17:00:09 GMT -6
MDWDRC2 is not the one saturating that insert chain. You're asking it to apply smooth but drastic leveling to something that has no dynamics and massive distortion from whatever drastic non-linear transfer curve the Fusion has. MDWDRC2 has some aliasing and intermodulation distortion in the treble but it is very low distortion. It is just bringing up whatever low level crap the Fusion is doing. Almost every single compressor without massive amounts of distortion will have smoother action than a glorified soft clipper.
Why don't you just buy the Daking Comp II? It comes with either transformer or electrical balancing.
Not many Daking Comp IIs on the used market, and looks like they cost almost as much as a new one. I'll have to try AA's again and see what I think. With the DRC2, seems like there wasn't a lot of time to investigate everything while the intro price was going on. Hell, the manual wasn't even ready. I've not tried it with Fusion since I started cranking Vintage Drive/Density into the red. That's the sound that impressed me from using it through AA. I just didn't realize that I accidentally drove it that hard through their plugin during my original tests until now. The waveform still looks good, no clipped peaks or anything. Just buy it new. Access Analog is a gimmick. What would you do for revisions? |
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Post by viciousbliss on Feb 21, 2023 2:31:18 GMT -6
Not many Daking Comp IIs on the used market, and looks like they cost almost as much as a new one. I'll have to try AA's again and see what I think. With the DRC2, seems like there wasn't a lot of time to investigate everything while the intro price was going on. Hell, the manual wasn't even ready. I've not tried it with Fusion since I started cranking Vintage Drive/Density into the red. That's the sound that impressed me from using it through AA. I just didn't realize that I accidentally drove it that hard through their plugin during my original tests until now. The waveform still looks good, no clipped peaks or anything. Just buy it new. Access Analog is a gimmick. What would you do for revisions? I couldn't even use the Daking II today, the free stuff on AA is in use a lot more often than a few months ago. What's your take on that $500 Art comp? A used one was cheaper than DRC2. I'm guessing back in the days of albums like Ride The Lightning that they didn't have the automated consoles yet and didn't do a ton of bus compression. My whole philosophy with Fusion is to sort of add back all the stuff that's missing in plugin vs hardware comparisons. And it really does a bang up job of making these kinda sterile ITB mixes compete well against things done using analog. My mixes are full of Satin and MolotGE as I found them to my liking and agreed with your reasoning. I'll use Phoenix or Tapedeck on some lesser tracks so my cpu cycles don't run out. Black Box MS on most stereo tracks. Dopamine after the tape plugins. I guess that plugin compresses the sound some too. After using all this stuff, I don't feel like I need all this additional compression. Even moreso lately now that I'm saturating specific frequencies with Black Box on both the mid and side usually. DRC2 uses way too much cpu for me to replace Black Box, Satin, Dopamine, or MolotGE all over the place. My main intent with AA is to test stuff. Using it for serious work would be a pain considering I may not have access to something when needed. The recall is fine as I'm pretty sure their plugin saves settings. I'd love to try their Bricasti, Silver Bullet, and their Neve stuff. I think they also have an SSL Bus+ or some other SSL Bus comp. Jantex said something about DRC2 basically being on par with his Bus+ if I recall. I'll have to ask him what he thinks of the Softube DS-1 nowadays. From what I remember, he made a post saying it was better than any hardware or software when it first came out. When it comes to hardware, I'm really looking at stuff I can use across a whole mix most of the time. One of these days I may build another computer with one of the top three fastest processors so that I can use a lot of DR2. |
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Post by kcatthedog on Feb 21, 2023 6:41:53 GMT -6
“I couldn't even use the Daking II today”
Cus, of expense?
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Post by phantom on Feb 21, 2023 6:45:25 GMT -6
Some people really lost their mind with this MDWDRC2.
I tried and it didn't cut for me. Maybe in the future, if I could try again, that could change. But so far that was it. Tried, did nothing excepcional, moved on.
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Post by viciousbliss on Feb 21, 2023 16:11:42 GMT -6
“I couldn't even use the Daking II today” Cus, of expense? Tied up by someone else |
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Post by kcatthedog on Feb 21, 2023 16:46:29 GMT -6
Ah, it was in use, I thought you meant you were so dissatisfied with it ! |
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Post by Deleted on Feb 21, 2023 20:56:16 GMT -6
Just buy it new. Access Analog is a gimmick. What would you do for revisions? I couldn't even use the Daking II today, the free stuff on AA is in use a lot more often than a few months ago. What's your take on that $500 Art comp? A used one was cheaper than DRC2. I'm guessing back in the days of albums like Ride The Lightning that they didn't have the automated consoles yet and didn't do a ton of bus compression. My whole philosophy with Fusion is to sort of add back all the stuff that's missing in plugin vs hardware comparisons. And it really does a bang up job of making these kinda sterile ITB mixes compete well against things done using analog. My mixes are full of Satin and MolotGE as I found them to my liking and agreed with your reasoning. I'll use Phoenix or Tapedeck on some lesser tracks so my cpu cycles don't run out. Black Box MS on most stereo tracks. Dopamine after the tape plugins. I guess that plugin compresses the sound some too. After using all this stuff, I don't feel like I need all this additional compression. Even moreso lately now that I'm saturating specific frequencies with Black Box on both the mid and side usually. DRC2 uses way too much cpu for me to replace Black Box, Satin, Dopamine, or MolotGE all over the place. My main intent with AA is to test stuff. Using it for serious work would be a pain considering I may not have access to something when needed. The recall is fine as I'm pretty sure their plugin saves settings. I'd love to try their Bricasti, Silver Bullet, and their Neve stuff. I think they also have an SSL Bus+ or some other SSL Bus comp. Jantex said something about DRC2 basically being on par with his Bus+ if I recall. I'll have to ask him what he thinks of the Softube DS-1 nowadays. From what I remember, he made a post saying it was better than any hardware or software when it first came out. When it comes to hardware, I'm really looking at stuff I can use across a whole mix most of the time. One of these days I may build another computer with one of the top three fastest processors so that I can use a lot of DR2. Maybe ease up on the saturation a bit? Most hardware not an old Neve or a distressor is pretty clean when not pushed. Even Satin on the modern tape setting barely does anything set conservatively. |
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Post by viciousbliss on Feb 21, 2023 23:49:59 GMT -6
I couldn't even use the Daking II today, the free stuff on AA is in use a lot more often than a few months ago. What's your take on that $500 Art comp? A used one was cheaper than DRC2. I'm guessing back in the days of albums like Ride The Lightning that they didn't have the automated consoles yet and didn't do a ton of bus compression. My whole philosophy with Fusion is to sort of add back all the stuff that's missing in plugin vs hardware comparisons. And it really does a bang up job of making these kinda sterile ITB mixes compete well against things done using analog. My mixes are full of Satin and MolotGE as I found them to my liking and agreed with your reasoning. I'll use Phoenix or Tapedeck on some lesser tracks so my cpu cycles don't run out. Black Box MS on most stereo tracks. Dopamine after the tape plugins. I guess that plugin compresses the sound some too. After using all this stuff, I don't feel like I need all this additional compression. Even moreso lately now that I'm saturating specific frequencies with Black Box on both the mid and side usually. DRC2 uses way too much cpu for me to replace Black Box, Satin, Dopamine, or MolotGE all over the place. My main intent with AA is to test stuff. Using it for serious work would be a pain considering I may not have access to something when needed. The recall is fine as I'm pretty sure their plugin saves settings. I'd love to try their Bricasti, Silver Bullet, and their Neve stuff. I think they also have an SSL Bus+ or some other SSL Bus comp. Jantex said something about DRC2 basically being on par with his Bus+ if I recall. I'll have to ask him what he thinks of the Softube DS-1 nowadays. From what I remember, he made a post saying it was better than any hardware or software when it first came out. When it comes to hardware, I'm really looking at stuff I can use across a whole mix most of the time. One of these days I may build another computer with one of the top three fastest processors so that I can use a lot of DR2. Maybe ease up on the saturation a bit? Most hardware not an old Neve or a distressor is pretty clean when not pushed. Even Satin on the modern tape setting barely does anything set conservatively. A big thing with me is that I really don't like what the conversion from 24/16 to 16/44k does or 24/96 to 16/44 does. Even when I convert 24-bit files made from great sounding albums, I think it's a noticeable quality loss. Doesn't matter if I'm using Saracon or something else. Going to 16/44 from my 24/96 masters seems to create its own sort of high frequency compression. So, lately I've tried some things like using the 50hz HPF on Fusion and increasing the highs of the Violet EQ. That helped. I'm gonna try some stuff tonight. Taking Bob's advice I found somewhere about dithering before a hardware insert worked well. I've gone back into my mixes and added Bx Console Amek after my FX again. Just in default for the time being. To see if using a little of gate, compression, etc would help. We could do a whole new thread on preserving as much as possible from 24/96 masters. Satin can be quite transparent, it is a lot cleaner than Tapedesk. I like the GP9 Studer A800 setting. Just for tracks and busses. I don't really use it on full mixes. And I always listen and set the input to where it provides a benefit and doesn't create bad distortion or whatever. Like you've always said, Satin can't be going into the red on every track. When I first got into this, I tried learning from videos by Graham and the usual guys, but I never felt like their mixes sounded like I wanted to sound. Lots of these video guys are using tons of Waves and things a lot of us don't bother with anymore. I'm definitely aware that I don't want to feed a compressor anything that I don't want magnified. Do you think DRC2 is better as a track compressor? |
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Post by Deleted on Feb 22, 2023 2:22:46 GMT -6
Maybe ease up on the saturation a bit? Most hardware not an old Neve or a distressor is pretty clean when not pushed. Even Satin on the modern tape setting barely does anything set conservatively. A big thing with me is that I really don't like what the conversion from 24/16 to 16/44k does or 24/96 to 16/44 does. Even when I convert 24-bit files made from great sounding albums, I think it's a noticeable quality loss. Doesn't matter if I'm using Saracon or something else. Going to 16/44 from my 24/96 masters seems to create its own sort of high frequency compression. So, lately I've tried some things like using the 50hz HPF on Fusion and increasing the highs of the Violet EQ. That helped. I'm gonna try some stuff tonight. Taking Bob's advice I found somewhere about dithering before a hardware insert worked well. I've gone back into my mixes and added Bx Console Amek after my FX again. Just in default for the time being. To see if using a little of gate, compression, etc would help. We could do a whole new thread on preserving as much as possible from 24/96 masters. Satin can be quite transparent, it is a lot cleaner than Tapedesk. I like the GP9 Studer A800 setting. Just for tracks and busses. I don't really use it on full mixes. And I always listen and set the input to where it provides a benefit and doesn't create bad distortion or whatever. Like you've always said, Satin can't be going into the red on every track. When I first got into this, I tried learning from videos by Graham and the usual guys, but I never felt like their mixes sounded like I wanted to sound. Lots of these video guys are using tons of Waves and things a lot of us don't bother with anymore. I'm definitely aware that I don't want to feed a compressor anything that I don't want magnified. Do you think DRC2 is better as a track compressor? What?  ?? Izotope, Voxengo, and Goodhertz sample rate conversion are pretty much perfect.
There are many others with no aliasing and distortion beneath that of 24-bit audio. The analog circuits your audio is passing through will have higher distortion than the SRC.
The main arguments against Waves are the Waves Update Plan and Waves Central.
You can use Waves Renaissance stuff on everything everywhere if you want. They sound fine. Most current plugins are worse than them 20 years after they came out.
People use Waves SSL and API eqs all the time too. The new EV2 sounds good. The old one isn't bad either if you don't hit it hot and avoid the compressors.
Many of the Waves plugins from the last decade or so already run at 96 khz or 192 khz if you check their impulse response.
MDWDRC2 is better than all but a few plugins. What are you talking about? I've used it everywhere on every instrument where I need clean control. No compressor is entirely transparent. It's just $400.
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Post by viciousbliss on Feb 22, 2023 3:23:22 GMT -6
A big thing with me is that I really don't like what the conversion from 24/16 to 16/44k does or 24/96 to 16/44 does. Even when I convert 24-bit files made from great sounding albums, I think it's a noticeable quality loss. Doesn't matter if I'm using Saracon or something else. Going to 16/44 from my 24/96 masters seems to create its own sort of high frequency compression. So, lately I've tried some things like using the 50hz HPF on Fusion and increasing the highs of the Violet EQ. That helped. I'm gonna try some stuff tonight. Taking Bob's advice I found somewhere about dithering before a hardware insert worked well. I've gone back into my mixes and added Bx Console Amek after my FX again. Just in default for the time being. To see if using a little of gate, compression, etc would help. We could do a whole new thread on preserving as much as possible from 24/96 masters. Satin can be quite transparent, it is a lot cleaner than Tapedesk. I like the GP9 Studer A800 setting. Just for tracks and busses. I don't really use it on full mixes. And I always listen and set the input to where it provides a benefit and doesn't create bad distortion or whatever. Like you've always said, Satin can't be going into the red on every track. When I first got into this, I tried learning from videos by Graham and the usual guys, but I never felt like their mixes sounded like I wanted to sound. Lots of these video guys are using tons of Waves and things a lot of us don't bother with anymore. I'm definitely aware that I don't want to feed a compressor anything that I don't want magnified. Do you think DRC2 is better as a track compressor? What? ?? Izotope, Voxengo, and Goodhertz sample rate conversion are pretty much perfect.
There are many others with no aliasing and distortion beneath that of 24-bit audio. The analog circuits your audio is passing through will have higher distortion than the SRC.
The main arguments against Waves are the Waves Update Plan and Waves Central.
You can use Waves Renaissance stuff on everything everywhere if you want. They sound fine. Most current plugins are worse than them 20 years after they came out.
People use Waves SSL and API eqs all the time too. The new EV2 sounds good. The old one isn't bad either if you don't hit it hot and avoid the compressors.
Many of the Waves plugins from the last decade or so already run at 96 khz or 192 khz if you check their impulse response.
MDWDRC2 is better than all but a few plugins. What are you talking about? I've used it everywhere on every instrument where I need clean control. No compressor is entirely transparent. It's just $400.
I know I've tried Izotope and Voxengo SRC before. Have you tried Saracon? It's the loss of high frequencies that I don't like. I took a song from the 24-bit, 44khz version of the album Emerge from Drown Again and did the SRC and dither with Saracon. Definitely different. TPDF preserved the highs much better than POWr2. I've looked at the SRC graphs from that one site that does all the comparisons. The loss of the 8 bits is probably the bigger problem. From what I recall, you were not a fan of a lot of Waves aside from the Ren series. CLA76 being one of your least favorites. There is a lot of consensus on the various forums that Waves has been left behind when it comes to emulations and aren't up to par with Softube, UAD, and TDR. There was another comment that I noticed recently when reading about the L1 about Waves changing their philosophy after they discovered much many people were using cracks. I believe it was Bob again. Came up in one of my searches for info about Michael Gerzon. I've always felt the L1 was underrated. I tried using DRC2 on some busses and then dug out the new L1 for the first time in a while and I thought I did better with the L1. How many Satin instances are you using? I use enough that I can't get DRC2 to work at all in most mix sessions, even at 44k. I also have a few MolotGE in there on insane mode. |
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Post by Deleted on Feb 28, 2023 23:27:13 GMT -6
Okay… having to deal with performers who can’t keep a consistent level… this is necessary and a major time saver. I agree with bgrotto. Simply for the fact that it calculates in the log domain but the curve is linear so it doesn’t speed up or slow down like a dbx 160 or Oxford dynamics. Also it pumps in a very cool way. Amazing on room mics. Use the percussion overdub settings modified from the 8900 manual. Cool stuff. Kotelnikov is better for creative uses without distorting for guys who don’t need to be brutally leveled. I think of it as Renaissance Compressor but way better but I still like Ren Comp because it gets fat, doesn’t touch the highs, and pumps cool 😎 |
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Post by Johnkenn on Mar 1, 2023 23:08:59 GMT -6
Ultimately…this plug is too complicated for me. I’m ok with people thinking I’m dumb. That’s fine. I don’t have time to figure this shit out when I could twist a few knobs on a HW comp and get where I’m going.
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Post by Deleted on Mar 2, 2023 0:13:09 GMT -6
Ultimately…this plug is too complicated for me. I’m ok with people thinking I’m dumb. That’s fine. I don’t have time to figure this shit out when I could twist a few knobs on a HW comp and get where I’m going. You’re not dumb. This thing is nutty complex and needs to be tinkered with to not sound like it’s imposing itself on the performance half the time. It’s not an Aphex Expressor/Compellor or Rcomp/Oxford Dynamics where you get in halfway in the zone and you’re good because it doesn’t sound bad. Molot GE is more hardware like and is 11 bucks now anyway. |
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Post by phantom on Mar 2, 2023 11:40:04 GMT -6
Having Kotelnikov GE and Molot GE in one's toolbox is much more useful, imo.
I would recommend that route instead of MDWDRC2 easily.
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Post by phantom on Mar 2, 2023 11:40:43 GMT -6
Ultimately…this plug is too complicated for me. I’m ok with people thinking I’m dumb. That’s fine. I don’t have time to figure this shit out when I could twist a few knobs on a HW comp and get where I’m going. You’re not dumb. This thing is nutty complex and needs to be tinkered with to not sound like it’s imposing itself on the performance half the time. It’s not an Aphex Expressor/Compellor or Rcomp/Oxford Dynamics where you get in halfway in the zone and you’re good because it doesn’t sound bad. Molot GE is more hardware like and is 11 bucks now anyway. a friend was looking to buy Molot GE. Where you saw it for 11 bucks? |
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Post by Deleted on Mar 2, 2023 13:03:55 GMT -6
You’re not dumb. This thing is nutty complex and needs to be tinkered with to not sound like it’s imposing itself on the performance half the time. It’s not an Aphex Expressor/Compellor or Rcomp/Oxford Dynamics where you get in halfway in the zone and you’re good because it doesn’t sound bad. Molot GE is more hardware like and is 11 bucks now anyway. a friend was looking to buy Molot GE. Where you saw it for 11 bucks? |
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