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[Table] IAmA: I am Chris Huelsbeck, video game composer of over 27 years, over 100 titles. AMA

Verified? (This bot cannot verify AMAs just yet)
Date: 2014-03-22
Link to submission (Has self-text)
Questions Answers
What are your thoughts about the recent romanticizing of chip tunes? Awesome! I am thinking of doing something with Chip Sounds again too in the near future. Giana Sisters: Twisted Dreams also had some cool Chip Sounds.
That would be brilliant! Which software / hardware you recon, you will be using? I really like reFX QuadraSID, for which I also made a factory sound bank, but there are a lot of chip sound emulation plugins these days and who knows, maybe I would even use some real hardware if I can get my hands on it.
Hi Chris! Being a long time fan of your music I wonder, now, when you're looking back at your long career and all the different technologies you've used to make music, what was your favourite technology and time? I guess creating music nowadays without much limitations must be very rewarding but are you looking back sometimes to programming the SID, for instance, directly? ;) There are some nostalgic feelings toward the old days when we just created music with cool programming tricks and a lot of hexadecimal numbers, but you're right that it is so much easier to make music these days and without all these limitations from back then. My favorite time was the jump from C64 to the Amiga computer, because I could finally use sampled instruments which opened up a lot of possibilities. I don't know if I could go back to the old ways, but maybe it could be a fun hobby project some day! ;)
With a franchise like Star Wars or Doctor Who, do you ever feel tied down/limited by the existing music by John Williams/Murray Gold? Or is it helpful creatively to have a starting point to work from? Edit:typo. On Star Wars we used some of the original tracks, but also wanted new music in the game and it was a very daunting task for me, because I admire John Williams so much and had many doubts if I could create music pieces that would do the game and franchise justice. Looking back I am more happy with the result now than I was back then and the fans loved what we put together, including the music. With Doctor Who I just had fun and wasn't worried - more excited because the Theme is such a classic synth tune and synths have always been my favorite instruments.
In your opinion, what is the best original videogame soundtrack that you have composed? In your opinion, what is the best original videogame soundtrack of all time? My best game soundtrack... hard to answer, but probably the Turrican Series. Jim Power is also still one of my favs. For other game soundtracks it's also hard to decide... maybe Actraiser by Yuzo Koshiro. Halo was great too. Recently I really liked what they did in Dead Rising 3 with the music score!
Hey mate thanks for all the awesome music. What Kind of music outside of games do you enjoy the most? Also, whats your favourite drink? Thanks mate! I love film soundtracks and electronic music - one of my favorite bands is Hybrid. My favorite film soundtrack as of late was Tron Legacy. And my drink of choice would be Coca Cola (I don't like the US version much though, because they use High Fructose Corn syrup as the sweetener, so I sometimes get the Mexican version which is still made with real sugar). I don't drink beer, which is why they probably kicked me out of Germany... ;)
Did you do any super nintendo? What's your favorite for SNES? I like the Dr. Mario music. I did Super Turrican 1 & 2 as well as Jim Power and another conversion (a game called Jaguar XSJ). My favorite SNES game was definitely Actraiser.
Hey Chris, just wandering, what program do you use to compose? Finale, sibeleus, handwritten, or something else? I use mainly Steinberg Cubase (currently 7.5).
I also want to composing for movies or games, any composers I should study? About any of the popular movies or games and their composers are worth to check out. Unfortunately I don't have any specific recommendation...
Hi Chris! Apydia on the Amiga was the first soundtrack I listened from you and one of my biggest inspirations, specially The Pond. How many channels did it use? It seemed like more than than 4 to me. That is interesting, because it's more like 3 1/2 channels, since one of them would be used a lot by the SFX and I could not put a lot of relevant musical info there. I often sampled all kinds of chord combinations to make it sound like more channels and I also often used very short percussive sounds (drums/hihats for example) directly followed by a bass sound (like 1 or 2 frames later) on a single channel that would then sound like more than one channel already playing.
I was on my way to bed when I saw your post on Facebook, and I just HAD to come here, what a great honor! I can't possibly explain how touched I am by your music, so all I can do is just thank you. Since I'm a nostalgia addict, here's my little attempt to take another glance at the past. What got you into making game music? How did you start off, did you have anyone to guide you, or have you found your way on your own? I wanted to make music with synthesizers, but I could not afford the expensive machines, so when I found out about the C64 and its synthesizer sound-chip (the legendary SID), I had to have one. After 2 years of just gaming, I wanted to become a game programmedesigner, but my love for music was stronger in the end and combined with my by then acquired programming skills (assembly language) I had an edge.
Hello there, Chris! I actually am pretty curious how you made it into the industry. How difficult was it to be recognized and what did you have to do to get where you are today? I was very fortunate to enter the industry at a time when my combination of skills was something very special that not many people did at that time. Back in the Commodore C64 days you had to program your own music software as well as being a composer and there were only a hand-full of people in Europe and the rest of the world who did this kind of work. I got my start when I won a competition in a famous C64 magazine, which also helped to establish my name. Today, a solid music education and special courses in game audio (which are now available) can help to prepare for a career as a game music composer.
Thanks for the AMA, my question is: How does one get into this industry? These days it's definitely a bit more difficult to break into music and audio for games, because there are already a lot of very talented people competing for gigs, but if you got the talent and will, there is a way. There are many media colleges, and even some university courses for this specialty as well as a lot of information online. One way to get started is either try to create your own games (maybe on iOS or Android platforms) or try to connect with upcoming teams. It's not easy and quick to break into the industry, but it can be very rewarding.
Every time i talk with my friends I try to get them to play the turrican games or Apidya! Also proud owner of the Anthology! Which Turrican did you enjoy playing the most, and did you ever beat Apidya :P What software do you use for your game sound tracks? Keep up the work! :D. Thanks for the kind words! :) My favorite is Turrican 2 and yes, I have played through Apidya many time back then (I was a better gamer back then). My music software of choice for years (if not decades ;) is Steinberg Cubase, which does everything I need and more.
What are the essential skills you would recommend learning, to move from being a composer of music for listening, to a composer of music for film/moving image etc? Or more succinctly - What skill makes a film/movie/game composer different to someone just writing an album? First of, there is still quite a difference between general music, film and game music composition. In film for example you are working to a linear medium, whereas games are interactive, which means the music needs to be composed and produced in a way that can change according to the state and flow of the game-play and the players input. There are different ways to achieve this and it would probably be a bit much to go into details here, but you prepare interchangeable parts, layers and scripting logic to change the music while the game is running. There are probably quite a lot of resources that can be found online on sites dealing with game development. There are some similarities to film composition in that you would be trying to match or create a mood of a scene or action which is again quite different from pop music creation, where the music is the central point of focus.
Hey Chris. Congrats on all the success you have had over the years. I am interested in what would you suggest for providing direction for the future game composers - aka my 8 year old son? Music talent is a must, and you also need to love games of course. Also a solid music education as a foundation is very helpful these days. Maybe piano or guitar lessons are a good way to start.
Have you ever met Zircon? Any chance for a collab in the future, on anything? You two are my favorite Video Game composers. :D. Yes, I know him and we just talked at GDC about all kinds of things. There is nothing specific, but a collaboration would not be out of the question, I think! :)
I don't know if I should just be this blunt/honest, but I wasn't aware you existed until I saw this AMA, and I felt bad you didn't have many questions. I do own and have played the Giana Sisters and I did enjoy the music, so thanks for making it. I do have a question. How do you actually go about making music for a game, and when you do, do you have a paranoid fit for a while that you may have unintentionally copied something ? I've always wondered that. Thanks for your participation! It's always a possibility to copy something unintentionally, but hopefully it would be more of an inspiration than a 1:1 copy. There are still many ways to make something your own with all the sounds available today. I usually start with just a melody or a specific sound that I think would fit to a scene in a game or a mood that needs musical support and I develop things from there...
Hey Chris, great to see you doing this. Also congratulations again on the amazing package that was the Turrican Soundtrack Anthology! Couple of questions if I may: when are you next in London - think we're still due a lunch date for my kickstarter funding tier (Symphonic Legends maybe?) And also, last weekend the UK's biggest commercial radio station, Classic FM, ran a two hour special playing nothing but orchestral video game music. The response was incredible with an overwhelmingly positive response to the music. Do you think video game music is under-represented in mainstream media and would you agree it deserves to be on a level footing with the best music other entertainment genres offer? Thanks Chris! I really hope I can visit the UK again soon (the last time it wasn't just a layover was in 2005 I think ;) and I would be more than happy for a lunch. I also hope that video game music will become more popular (the signs are pretty good recently).
Well fingers crossed you can come to London in July then. Maybe Mr Bocker can sort you a ticket to Symphonic Legends! Unfortunately I don't think it's going to work this time, but hopefully in the not too distant future - I always enjoyed London. Especially during the good old ECTS days! :)
Hey Chris, fancy seeing you here - I went to your masterclass at the FSHamburg and won a big Turrican package at your panel. Been meaning to say thank you! Keep on doing what you do! So what are you up to right now? Happy that you enjoyed the Turrican Soundtrack and thanks for taking part int he FSH Masterclass, it was a great experience! I'm currently working on a casual game that is not announced yet, but should be released in a few weeks from now. My latest released project is "Doctor Who: Legacy", a free to play puzzle game for iOS and Android in the Doctor Who Universe.
What is your favorite soundtrack from any video game? There was a similar question already asked and I answered Actraiser, Halo and Dead Rising 3. :)
How does one get into composing music or sound design for video games? My brother already has a degree in audio recording, what would be the next logical step? Very important question and I would like to point you to this post, which was very similar: Link to www.reddit.com
What are your thoughts on the Assassins Creed 2 score?(My favorite game soundtrack) Yes, Assassins Creed scores are all great, specially love the ones by Jesper Kyd!
Your Turrican music really inspired me since I first booted it up on the C64. It seems that a new game in the series is not happening soon. But, is there (musically) still a future for Turrican? Or did making TSA felt like closing a chapter for you? Definitely not a closing chapter and never give up the hope that there may be another Turrican in the future! :)
Hello! I've heard from many different sources that composing is a hard job. What would you say is the hardest part about your job, both in a musical sense and a business sense? Thanks! Often music in my profession is created on a time crunch and the hardest part is getting a piece started. Also, as a freelance composer you have to constantly promote yourself and there is always a worry about where your next gig will come from... but it can be very rewarding line of work.
I definatley do! When you set out to write a piece of music. Where do you take your inspiration from and do you do any background research? Of course something you look what other people have done with similar games or scenes, but then I also sometimes go into a totally different direction, just to set a counter point of view. And a single unusual sound can also be a big inspiration.
My wife has been asking for some ideas for my birthday, and looks like I will be shooting her a link to the anthology. Thanks so much! :) Give her this link: Link to www.turricansoundtrack.com
I'm surprised no one has asked this yet, but what are your favorite VST's to work with? To broaden the question a bit, what are your favorite VST brands? (Native Instruments, ReFX, 8Dio, etc.) I have a lot of plugins, but notable are the Korg Legacy stuff (with MonoPoly and M1 as my favs); Native Instruments Komplete (currently I have 8 Ultimate), from which I most use Kontakt, Battery and FM8; reFX Nexus 2 and QuadraSID, Spectrasonics Stylus RMX and Atmosphere (would like to upgrade to Omnisphere soon), Waldorf PPG Wave 3.v and the Waldorf Collection. Another favorite is SQ8L, a faithful freeware emulation of the Ensoniq SQ80, which is the synth I used for a lot of my Amiga work (along with the Korg M1). I also use quite a few of the build-in Cubase plugins, like Padshop Pro (which is totally awesome) and HALion Sonic SE. For sample libraries I have East West Orchestra Gold and Silver, Choirs Gold, Stormdrum 1&2 and RA, Spitfire Audio Albion I, 8Dio Dubstep, Steven Slate Drums EX and countless other as well as older libraries.
Hi Chris, I was a visitor of "Symphonic Shades" and it was one of my greates gaming moments ever. It was also great for me to be able to help you with the creation of the CD release for the concert (we met at "Boris' Hotelzimmer" with the "Spieleveteranen"). Is there any chance of having another classic music concert with your music in the future? (in Germany) I would definitely love to have another concert and it could very well happen as some point (hopefully soon).
What is your favorite game/s to play? The last really cool one that I loved and played intensively was Portal (1 & 2).
FM synth or MIDI? Can you specify more? FM is a synthesis, whereas MIDI is a musical interface protocol. I prefer to work with MIDI more than tracking old-skool style these days because it makes for an easier work flow. And I still use FM sounds often in my pieces.
Hi Chris, since lots of people are calling you a legendary videogame music composer (wich you truely are :)) How do you think people will look at your work in, let's say 100 years from today? I have no idea... I guess time will have to tell ;) Maybe if we're really lucky we will live as long (due to some future rejuvenation therapy) to see it for ourselves!
What was it like working with Machinae Supremacy? Those guys are crazy cool and working together was awesome... I have yet to meet them in person, but I hope I will in the not too distant future.
Hi Chris! Wird es den Quick & Silva OST im original mal geremastered geben? Maybe! Definitely possible as part of a compilation or EP. ;)
1.) What is your stance on Creative Commons, remix culture, etc. Do you actively endorse remixing of your tracks? 2.) Given all the limits that using trackers, little memory, early sound cards, etc. brought that musicians had to find ways of dealing with - would you say that making computer music back then was more creative / creative in a different way? Concerning 1.) I love the remix culture and have no problems at all if remixes of my music are released in a non-commercial manner and with a credit attached. However, if they make money with it, I'd like to be contacted first and negotiate a fair cut.
About 2.) I'd say some of the creativity back then was to work within or find ways around the limitations, but you can still be equally creative about music making these days. I'm pretty sure if you would play some new and classic game music to a group of unbiased (younger) people, there wouldn't be much preference if the music itself is not total garbage. But we who grew up with C64 and Amiga have of course a strong nostalgic feeling about the music of those days.
Might be a little late but what is your favorite video game soundtrack? Outside of your own work of course. The latest one that impressed me was the soundtrack of Dead Rising 3. All time favorites are Actraiser (SNES), Halo and the Assassin's Creed series.
I love that you're offering some of your old music through Bandcamp, it's something I really wish more composers and labels would embrace. But I'd also really like to get my hands on are some of your old school C64 and Amiga soundtracks, and some other more obscure credits of yours. The only way to get most of that stuff nowadays is through direct audio rips which usually degrade the quality. Do you have any plans to make some of that available in the near future? Yes, I do have plans for that, but it needs time to put it together properly... ;)
When is your next appearance at the "Spieleveteranen Podcast"? Btw i've won the Sound of Games Vol.1 CD and it is a great compilation with the old classic in new arrangements!! Great work! Greets from Germany :-) Rainer. I hope soon! Keep bugging them! :)
Unity5: What's your take on Unity5 for just starting out? Unity is a great game development tool for sure.
Will there ever be anything that beats Halo or Skyrims soundtrack? I just hope, I'll write it! ;)
How do you feel about Ghandi? Cool Dude! :)
Hey Chris, No question just wanted to say thanks! The great giana sisters theme was the wedding march at my wedding. I found a Midi version online and used some software to tranlate that to sheet music. Then the organist played it on a huge church organ. It was great! Hey that is awesome! Do you have a video of it by any chance? :)
Just wanted to say Turrican level 1.3 (Outpost) is one of the best video game tracks. Thanks, I enjoyed working on all those tracks! I assume you know about the Turrican Soundtrack Anthology (turricansoundtrack.com)?
Last updated: 2014-03-27 02:27 UTC
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submitted by tabledresser to tabled

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A few people have asked for some info on my process so here are four of my favourite plugins with side-by-side audio comparisons!

Hi all. Thought I’d do a quick rundown of four of my favourite plugins I’m using on current projects. I’ll run through two audio effects with side by side audio comparisons, my favourite synth I’m currently using and my favourite sample set.

EQ

Gliss EQ by Voxengo
Imagine a suave Mediterranean sidechain compressor locking eyes with a beautiful quirky EQ across a crowded salsa bar. They ditch their friends and head out for candlelit tapas followed by coffee back at her place. Everything moves at just the right pace and nine-and-a-bit months later, voila! Gliss EQ is born. The metaphor is important because what Gliss EQ is NOT is the result of a CLA-76 and your DAW’s inbuilt EQ frantically rutting in the park after a hasty tinder date at Burger King. Gliss is delicate, transparent and responsive with an intuitive interface and a vast range of capabilities, not some messed up meth-baby plugin.
I’ll just run through the two key features of the Gliss EQ seeing as all the info is on the website if you want to dive deeper.
The first and most important is that Gliss is a ‘dynamic’ EQ, meaning that the effect on a certain frequency band can be modulated by the amplitude of that frequency band in the input signal (I say ‘can be’ because Gliss has a dynamic control that lets you blend between a fully dynamic and a regular EQ for each frequency band).
To illustrate, imagine you have a lovely twangy guitar track but every now and then there’s a harsh peak @ 3kHz that jumps out of the mix to assault your eardrums. Using a regular EQ, you could make a notch at 3k to remove offending frequencies. However, unless you automate the EQ on/off for each peak in the whole track, that notch is going to be affecting the guitar sound regardless of whether or not it’s an unwanted peak or the desirable signal. A great deal of a guitar’s presence and character comes at around the 3kHz mark and so by applying a blanket EQ you will dull the sound for the entire track.
With Gliss EQ you can surgically cut the offending frequencies, but by turning up the dynamic control the EQ will only kick in when the guitar input reaches a certain amplitude, i.e. at the peaks. The rest of the time the EQ will lay dormant leaving your beautiful rich sound unaffected. Gliss is so transparent that you can make extreme notches affecting tight frequency bands without audible artefacts, meaning that you can even back off your compressor and leave more dynamic range in the sound!
The second less-exciting-but-still-awesome feature is that Gliss is also a mid-side EQ. This means that you can affect the centre channel and the side channels independently. To have a play around with this I recommend starting with the ‘wider highs’ preset and sticking it on some drum overheads. The smooth transparency of the plugin lets you push some real sparkle into your cymbals without them sounding harsh and the fact that it’s only affecting the side channels brings width to the mix and leaves headroom for more HF elements in the centre.
Audio examples:
Here’s a quick side by side of Gliss EQ in action on a lead vocal I’m working on. The first track is unaffected and the second track is treated with Gliss and a tiny touch of compression. I chose Gliss EQ because the vocal is in the jazz style and I wanted to clear out all the mud from the low end without sacrificing the beautiful deep timbre of the singer’s voice. Note also how a boost in the high end around 3kHz pushes the vocal to the forefront of the mix without ever sounding overly harsh:
Gliss EQ OFF: https://clyp.it/z0wdu350 Gliss EQ ON: https://clyp.it/vjkvhknn

REVERB

PSP EasyVerb by PSP Audioware
I’m going to break the mould a little bit here by going for a plugin that you would struggle to even hear working in most of my mixes. Nevertheless, PSP EasyVerb has insinuated itself into every single audio project I have completed since I first heard it at least 8 years ago. It is an absolute workhorse and when used subtly it adds a tremendous cohesiveness to your tracks.
EasyVerb is like Ronseal, it does exactly what it says on the tin. There are a few space algorithms to choose form ranging between ambience and cathedral (plus a spring and a plate) but for what I use it for I never go larger than ‘room’. On top of the space algorithm there are controls for pre-delay (first reflection), time (size/reflectiveness of space), dampness (reflection of HF or lack thereof), and low and hi EQ shelves. That’s it!
The way I use EasyVerb is as a ‘glue’ reverb, which is to say I set it up on a couple of auxiliary/bus channels and send a tiny bit of every channel to these auxes (there are some exceptions; when making glitch music I love the impact of sudden digital silence so I will often leave the bass sounds dry). This situates the various elements of a track in the same space and despite the subtlety of the effect, the psychoacoustics are extremely powerful making the song feel more ‘together’.
My usual settings are to have a small ambience on one aux channel and a large ambience on a second (as these are on aux channels you want the mix set to 100%, otherwise you will get dry signal coming through on the aux and affecting the amplitude of your original instrument or track). Sometimes for my large ambience I will use the ‘room’ algorithm but often I will use the ‘ambience’ algorithm on both, with the ‘time’ and the ‘damp’ set higher on the large ambience. For both I will set the pre-delay to around 10-12ms to avoid comb filtering and usually I will bring the low shelf down by about 5dB at around 100-200Hz to avoid muddying the LF. If you want more fine-grain control on this you could obviously put an EQ after the verb but again, I use these so subtly it hardly seems necessary to introduce the extra artefacts.
In order to get these EQ’s right for me I will use the ‘send’ control on the channel I want to effect (which obviously leads to the reverb bus), whack it on full and then gradually bring it down until I can’t hear it any more, then I will add like 5% and leave it. I do exactly the same thing for the large ambience, whack it on full, bring it down until it’s barely perceptible and then just add a tiny bit. If by the end of the track you feel like you’ve overcooked it you can just being the volume fader on you aux down o get fine-grain control of the overall glue.
It would be difficult to clearly demonstrate the impact of a glue reverb in the whole track so I’ve knocked up a quick drum break made from an old Isaac Hayes track, as well as additional samples to thicken kicks and snares. In the first audio example you hear the unaffected break, which sounds very disjointed and unnatural. It also has a ton of room sound that doesn’t fit properly because of tempo and timing differences. In the second audio example I have used an enveloper to kill the original room sound and tighten up the break. I have then replaced the OG room sound with PSP EasyVerb (Small amb, large amb and a larger room space) to bring the individual samples together. It’s a bit rough around the edges but I did it in half an hour so please forgive me!
Audio examples:
PSP EasyVerb OFF: https://clyp.it/vrpxdoed PSP EasyVerb ON: https://clyp.it/mszaajix

SYNTH

RayBlaster by Tone 2
I’ve waffled on for ages now so I’ll keep the next two brief. Tone 2’s RayBlaster is simply a powerhouse for all kinds of heavy electro. It’s an ‘impulse modelling’ synthesizer, which means that instead of frequency modulation or adding/subtracting waveforms from each other, it blasts out a metric shit-ton of tiny impulses that combine to create an absolutely massive sound.
You don’t technically need to understand about impulse modelling to be able to use RayBlaster as many of the controls are familiar to regular synth users. The main different is that instead of selecting between oscillators you are selecting between impulses, which I like to think of as tiny ‘noise bullets’.
Sonically, I think about RayBlaster as a more ‘analogue’ sounding NI Massive. I used to love Massive but eventually I got really tired of the thin digital sound and now whenever I hear it in a track it just bores me. RayBlaster is fresh and rich and the slight variations in the design from traditional synthesizers force you to explore new ideas and new ways of working.
Additionally, if you’re newer to synthesis the presets are fucking amazing!
Audio examples:
Here’s RayBlaster at work in a glitchy dub track: https://clyp.it/q3zboflo
Last but not least…

SAMPLE PACKS

EastWest Quantum Leap Symphonic Orchestra
If you’re not down with orchestral sounds then I just don’t think we can ever be friends. I love the emotion that a well arranged and beautifully sampled set of strings or horns can add to a track.
I have the platinum version of EWQLSO which was expensive (think it was like £400 when I was a student or something) but it has been worth EVERY GOD DAMN PENNY. There are hundreds of instruments and combinations of instrument with a ton of different articulations. If you have the patience you can create beautiful string solos that IMO are almost indistinguishable from the real thing.
The platinum version of EWQLSO comes with close mic, whereas the gold version is just stage mics. I would recommend (if you can) getting the platinum version for electronic music because every now and then you want a really raucous trumpet popping right out in your face and you just can’t quite get the clarity with the stage versions. The close-mic’d cellos are also incredible, you can practically hear every horsehair tugging the strings.
If you can’t fork out on the platinum version, don’t worry! You can use processing to bring out the more characterful elements of the sounds and then either the inbuilt envelope controls or your own enveloper to kill the stage ambience, which you can then replace with your own reverb as you desire. I actually do this with the close-mic versions as well to make the trumpets pop and to being the percussion forward in the mix.
EWQLSO is also great for hip-hop as enhancements to your other sampled records. If you don’t like the harmony or want to add a bit of sustain to pre-recorded strings then you can layer up EWQLSO under your samples, blend them together and then you have way more scope for adjusting the samples musically to exactly fit your composition.
In the example below, pretty much all the sounds except for the drums are from EWQLSO. I hope people agree with me that to the casual listener the double bass and the trumpets sound like they could have been recorded specifically for the track. Obviously the real thing is best, but not all of us have access to session musicians and if you love real instruments I’m convinced this is the next best thing:
Audio Example:
Example of arranged double bass, piano and trumpets from the EWQLSO sample set: https://clyp.it/1l2yxzoe
That’s all for now. I really hope some of you will find it useful!
TL;DR: Just listen to the audio examples and if you’re interested in the different elements then dig into the text :)
submitted by thewholeisgreater to WeAreTheMusicMakers