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Post by tasteliketape on Jan 13, 2024 2:39:43 GMT -6
korneffaudio.com/This is supposed to be sort of a better and updated version of the L1 limiter. A hidden feature if you click the korneff logo above the release knob you get extra settings Plus dither and oversampling options. Mainly for instrument and instrument buss stated by korneff Free for a limited time .
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Post by mcirish on Jan 13, 2024 9:45:18 GMT -6
I downloaded it a few days ago but haven't had a chance to try it out. That's very cool that they have a panel to set oversampling
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jwitb
New Member
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Post by jwitb on Jan 13, 2024 10:05:05 GMT -6
Amazing plugin
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Post by mattbroiler on Jan 13, 2024 11:45:00 GMT -6
regular price $2999.99 so get it now!!! I assume that must be a typo
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Post by ab101 on Jan 13, 2024 12:39:29 GMT -6
regular price $2999.99 so get it now!!! I assume that must be a typo I think it is their humor, since under it, it says that it is $0.
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Post by seawell on Jan 13, 2024 12:56:23 GMT -6
Looking forward to checking this out! I was very impressed by their pawnshop comp. Also a huge fan of Dan's work with David Bendeth over the years.
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Post by antipodesjosh on Jan 13, 2024 13:43:37 GMT -6
I love the road-worn aesthetic of these plugins. I’ve downloaded the limited, keen to take it for a spin. Thanks for the tip!
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Deleted
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Post by Deleted on Jan 13, 2024 14:07:22 GMT -6
Looking forward to checking this out! I was very impressed by their pawnshop comp. Also a huge fan of Dan's work with David Bendeth over the years. I'm not a fan of that era of rock and metal in general but Korneff's Amplified Instrument Processor was interesting enough for new school Digico owned SSL to rip off the concept, including an equally obtuse to the processing and signal path gui.
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Post by seawell on Jan 13, 2024 17:49:21 GMT -6
Looking forward to checking this out! I was very impressed by their pawnshop comp. Also a huge fan of Dan's work with David Bendeth over the years. I'm not a fan of that era of rock and metal in general but Korneff's Amplified Instrument Processor was interesting enough for new school Digico owned SSL to rip off the concept, including an equally obtuse to the processing and signal path gui. It's more about appreciating the engineering than the genre for me...I'm definitely not the target audience of most of those bands 🤣. In particular when Paramore - Riot made such a splash it was just nice to hear something that wasn't a CLA mix. Not bashing CLA at all, I like a lot of what he's done but I just thought the Korneff-Bendeth team was a breath of fresh air. The "Misery Business" snare drum alone basically started its own genre haha. David and Dan were both VERY generous to share with me during that time through email about their process and I'll never forget that. Great dudes and I have a ton of respect for them both so I'll definitely continue to keep an eye on what Korneff Audio does.
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Post by ab101 on Jan 13, 2024 21:06:10 GMT -6
regular price $2999.99 so get it now!!! I assume that must be a typo I think it is their humor, since under it, it says that it is $0. To add to my own post. These people have an obvious sense of humor, not just the $2999 price but now $0. Also, the name El Juan -- L 1
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Post by smashlord on Jan 14, 2024 13:21:36 GMT -6
The "Misery Business" snare drum alone basically started its own genre haha. David and Dan were both VERY generous to share with me during that time through email about their process and I'll never forget that. Great dudes and I have a ton of respect for them both so I'll definitely continue to keep an eye on what Korneff Audio does. The Underoath and Paramore records are the reason I own a Compex and a Transient Designer! One of my pals from college was Dan's assistant for years and I nagged the poor guy for just about anything he could tell me about how they got some of those drum sounds.
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Post by seawell on Jan 14, 2024 13:27:17 GMT -6
The "Misery Business" snare drum alone basically started its own genre haha. David and Dan were both VERY generous to share with me during that time through email about their process and I'll never forget that. Great dudes and I have a ton of respect for them both so I'll definitely continue to keep an eye on what Korneff Audio does. The Underoath and Paramore records are the reason I own a Compex and a Transient Designer! One of my pals from college was Dan's assistant for years and I nagged the poor guy for just about anything he could tell me about how they got some of those drum sounds. That's aweosme! I got close to purchasing a compex but never pulled the trigger. Yeah, I love those sounds! Also, thought that team did a great job of infusing catchiness and a real pop sense into rock and heavier music. Not in a cheesy way at all though. Tons of respect for those dudes!
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Post by jeremygillespie on Jan 14, 2024 14:33:09 GMT -6
The "Misery Business" snare drum alone basically started its own genre haha. David and Dan were both VERY generous to share with me during that time through email about their process and I'll never forget that. Great dudes and I have a ton of respect for them both so I'll definitely continue to keep an eye on what Korneff Audio does. The Underoath and Paramore records are the reason I own a Compex and a Transient Designer! One of my pals from college was Dan's assistant for years and I nagged the poor guy for just about anything he could tell me about how they got some of those drum sounds. Brian?
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Deleted
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Post by Deleted on Jan 14, 2024 17:24:49 GMT -6
I'm not a fan of that era of rock and metal in general but Korneff's Amplified Instrument Processor was interesting enough for new school Digico owned SSL to rip off the concept, including an equally obtuse to the processing and signal path gui. It's more about appreciating the engineering than the genre for me...I'm definitely not the target audience of most of those bands 🤣. In particular when Paramore - Riot made such a splash it was just nice to hear something that wasn't a CLA mix. Not bashing CLA at all, I like a lot of what he's done but I just thought the Korneff-Bendeth team was a breath of fresh air. The "Misery Business" snare drum alone basically started its own genre haha. David and Dan were both VERY generous to share with me during that time through email about their process and I'll never forget that. Great dudes and I have a ton of respect for them both so I'll definitely continue to keep an eye on what Korneff Audio does. the cla mixed paramore brand new eyes sounds hilarious
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Post by bgrotto on Jan 14, 2024 17:32:02 GMT -6
The L1, er, I mean, El Juan is pretty rad. Glad to have a simple sledge hammer limiter back in the tool kit. I've been using Faraday for a while but it's a bit too nice-sounding sometimes. Haha. And dan - just listened to a bit of that Paramore record. I typically like CLA but that one was indeed a miss.
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Post by seawell on Jan 14, 2024 19:14:43 GMT -6
It's more about appreciating the engineering than the genre for me...I'm definitely not the target audience of most of those bands 🤣. In particular when Paramore - Riot made such a splash it was just nice to hear something that wasn't a CLA mix. Not bashing CLA at all, I like a lot of what he's done but I just thought the Korneff-Bendeth team was a breath of fresh air. The "Misery Business" snare drum alone basically started its own genre haha. David and Dan were both VERY generous to share with me during that time through email about their process and I'll never forget that. Great dudes and I have a ton of respect for them both so I'll definitely continue to keep an eye on what Korneff Audio does. the cla mixed paramore brand new eyes sounds hilarious The best part about that is, I forget the interview...but he was talking about the challenge of beating the sound on Riot and how he did that and I was thinking...I don't think so pal 🤣 On a side note, it's so annoying when labels do that. An album blows up, has an amazing sound and huge commercial success so what do they do? Get rid of the whole production team that helped shape that sound for the next album....and hire the "big names." It's mind boggling.
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Post by smashlord on Jan 14, 2024 19:44:52 GMT -6
the cla mixed paramore brand new eyes sounds hilarious The best part about that is, I forget the interview...but he was talking about the challenge of beating the sound on Riot and how he did that and I was thinking...I don't think so pal 🤣 On a side note, it's so annoying when labels do that. An album blows up, has an amazing sound and huge commercial success so what do they do? Get rid of the whole production team that helped shape that sound for the next album....and hire the "big names." It's mind boggling. The team that beat the sound on "Riot" was Justin Meldal-Johnson, Carlos de la Garza, and Ken Andrews! For me, the S/T is the coolest sounding one of the bunch. Those roomy drums, fat bass and dirt all around! Poppy and gritty at the same time. One of my favorite rock productions of all time.
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Deleted
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Post by Deleted on Jan 14, 2024 20:21:00 GMT -6
The L1, er, I mean, El Juan is pretty rad. Glad to have a simple sledge hammer limiter back in the tool kit. I've been using Faraday for a while but it's a bit too nice-sounding sometimes. Haha. And dan - just listened to a bit of that Paramore record. I typically like CLA but that one was indeed a miss. faraday has a built in overshoot no matter how fast you set the attack. Wup just turns me off waves so much. It just sounds like pumpy cymbal wash imo
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Post by Ted Swan on Jan 14, 2024 21:07:55 GMT -6
The L1, er, I mean, El Juan is pretty rad. Glad to have a simple sledge hammer limiter back in the tool kit. I've been using Faraday for a while but it's a bit too nice-sounding sometimes. Haha. And dan - just listened to a bit of that Paramore record. I typically like CLA but that one was indeed a miss. Agreed. But a little devils advocate… I’ve often wondered if that record is a great example of just how important the production team is in shaping the final sound… maybe CLA just did his thing, the same way he always does, and that’s what came out of his oven…
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Post by seawell on Jan 14, 2024 22:17:47 GMT -6
The L1, er, I mean, El Juan is pretty rad. Glad to have a simple sledge hammer limiter back in the tool kit. I've been using Faraday for a while but it's a bit too nice-sounding sometimes. Haha. And dan - just listened to a bit of that Paramore record. I typically like CLA but that one was indeed a miss. Agreed. But a little devils advocate… I’ve often wondered if that record is a great example of just how important the production team is in shaping the final sound… maybe CLA just did his thing, the same way he always does, and that’s what came out of his oven… I don't think it's bad by any means I just think it had an awfully high bar set by Riot. Well, one thing was kind of bad now that I think of it...that God awful thin acoustic sound on "The Only Exception." He did a similar thing on "Home" by Daughtry...just the worst acoustic you've ever heard 🙉. Sound like it's highpassed up to around 800Hz LOL.
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Post by seawell on Jan 14, 2024 22:20:15 GMT -6
The best part about that is, I forget the interview...but he was talking about the challenge of beating the sound on Riot and how he did that and I was thinking...I don't think so pal 🤣 On a side note, it's so annoying when labels do that. An album blows up, has an amazing sound and huge commercial success so what do they do? Get rid of the whole production team that helped shape that sound for the next album....and hire the "big names." It's mind boggling. The team that beat the sound on "Riot" was Justin Meldal-Johnson, Carlos de la Garza, and Ken Andrews! For me, the S/T is the coolest sounding one of the bunch. Those roomy drums, fat bass and dirt all around! Poppy and gritty at the same time. One of my favorite rock productions of all time. That was such a cool album and change of direction for the band! Definitely one of my favorite all ITB mixed albums. I still prefer Riot personally but I can totally get why that one is your favorite. If you haven't seen it yet, Ken shared a bunch of cool info about that album here: tingen.org/ken-andrews-mixing-paramore/
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Post by Ted Swan on Jan 14, 2024 22:25:25 GMT -6
Agreed. But a little devils advocate… I’ve often wondered if that record is a great example of just how important the production team is in shaping the final sound… maybe CLA just did his thing, the same way he always does, and that’s what came out of his oven… I don't think it's bad by any means I just think it had an awfully high bar set by Riot. Well, one thing was kind of bad now that I think of it...that God awful thin acoustic sound on "The Only Exception." He did a similar thing on "Home" by Daughtry...just the worst acoustic you've ever heard 🙉. Sound like it's highpassed up to around 800Hz LOL. Such a high bar! Riot was beautiful. I’m just thinking the recorded tracks on Brand New Eyes were fairly lackluster. Now that thin acoustic sound… man he’s been doing that for years! Def not my taste!
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Post by seawell on Jan 14, 2024 22:27:17 GMT -6
I don't think it's bad by any means I just think it had an awfully high bar set by Riot. Well, one thing was kind of bad now that I think of it...that God awful thin acoustic sound on "The Only Exception." He did a similar thing on "Home" by Daughtry...just the worst acoustic you've ever heard 🙉. Sound like it's highpassed up to around 800Hz LOL. Such a high bar! Riot was beautiful. I’m just thinking the recorded tracks on Brand New Eyes were fairly lackluster. Now that thin acoustic sound… man he’s been doing that for years! Def not my taste! Yeah definitely could have been the case!
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Post by seawell on Jan 14, 2024 22:56:54 GMT -6
Also, how freaking great is Hayley Williams voice?🔥 Geez...
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Deleted
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Post by Deleted on Jan 14, 2024 22:57:55 GMT -6
Agreed. But a little devils advocate… I’ve often wondered if that record is a great example of just how important the production team is in shaping the final sound… maybe CLA just did his thing, the same way he always does, and that’s what came out of his oven… I don't think it's bad by any means I just think it had an awfully high bar set by Riot. Well, one thing was kind of bad now that I think of it...that God awful thin acoustic sound on "The Only Exception." He did a similar thing on "Home" by Daughtry...just the worst acoustic you've ever heard 🙉. Sound like it's highpassed up to around 800Hz LOL. He royally fucked up the drums and the levels pump around. The latter I don’t think is his fault is his fault because as a heavy / soft band, like Pantera or nirvana, if he rides the faders into his ssl bus to keep it in the sweet spot and keep the guitar and vocals consistent in the sweet spot where the gain reduction speeds on just transients for his ratio, his attack, and auto release (which also adds a slower auto attack) to get it program dependent to not pump around like your typical compressor either by riding the bus or vca group faders into the bus comp or riding a vca on the summed mix bus into the master bus to keep the ssl bus compressor in the sweet spot on an already leveled mix, the parts where everything plays at once are going to be louder than the parts that are sparse from everything being summed together and this all will just get slammed by the limiter. The ride all the faders that have already been mostly evened out into the ssl bus comp for every single part even when it’s doing greater gain reduction, automating them to keep the levels the same takes longer and is the super glue and will even out the levels of different parts the song at the cost of a ton of automation passes and maybe changing the sound of different parts of the mix. The ride the mix bus fader of the already evened out mix into bus compressor method gives some leveling and envelope shaping to every part to keep the levels the same. it will do the same amount of gain reduction to each part of the song but won’t change the levels of different parts of the song relative to each other. Gorilla vs Elmer’s glue. But loudness war limiting will wreck the latter. If you just slap the bus compressor on without automating something, it’s going to sound like shit the moment anything knocks it put of the sweet spot or you fight the bus comp’s modulation with the faders and cla’s mixes do not usually pump around like crazy with the kick or snare so he’s probably automating something into the bus comp. Of course spanking all the drums, not panning them to overheads, and making the drum bus slam or nuke rather than sit, can’t easily be done with heavy, fast drumming. When the levee breaks is slow! The cymbals are all on him because he could always shove a de-esser on the overheads or not phase the wash even more.
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