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About donnyair@hotmail.com

  • Birthday 05/09/1959

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    Northeast Ohio, Akron/Cleveland
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    Fly Fishing, writing, teaching (audio)

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  1. I realize this is an older post, but I thought I'd chime in.. I have VCC, and am working on the trial version of VMR. I love both. These plugs have both gone a long way to making my mixes sound better - more warmth, depth, silk and air. I can't say that these are the best plugs out there for what they are intended to do, after ll, I haven't used every single plug similar to these, but I can only say that thus far, they are the best processors that I've personally used to date. If you are looking for a dramatic change, then you may be disappointed. Besides, "dramatic" is a relevant description, because many find that there are times when the smallest alterations are indeed dramatic, while others are looking for a gigantic, huge "wow" factor, and are disappointed when they don't hear that. Most engineers will admit that the hardest part of the mix is "that final 10%"... those final teaks and sonic enhancements that add up, and that often come very hard. To many - including myself - this is often where the mix either lives or dies, and this final 10% can be where the difference between a pro sound and an average sound occurs. I have found that, if you are looking for "that final 10%", these are great plugs to use in regard to those final nuances and esoteric subtleties - that can make a huge difference. I'm not knocking the stock plugs in Pro X - far from it - these are some of the best native plugs I've ever heard and worked with - but I have found, at least so far, that the Slate plugs allow me to get that final 10% in a manner that is a lot less difficult than it's been in the past for me, using other processors. I'm sure there are those who will disagree with me, and that's okay. Everyone has their own workflow preferences, things that they like, things that they don't, and, we also need to consider this within the context of what we are working on at the time. These plugs from Slate might not be the best choice every single time, in every single project scenario, and I'm willing to admit that. But for what I am doing, they work great. Effective, efficient, easy to use, easy on the CPU, and they give me sonic options which I didn't have before I started using them. In my humble opinion, of course. -d.
  2. wow... the topic of this post derailed pretty fast.. LOLOL...
  3. While I do understand - and agree with you - that the use of plugs can bring on latency, when I did my own listening tests between the platforms, I didn't use any processing at all. These were identical, raw, flat, unprocessed 44/24 .wav files, all recorded with the exact same preamp/converter. The most noticeable "smearing" that I heard was on vocals, acoustic guitar and cymbals. On the vocals, S's were the most noticeable, almost as if I had inserted a cheap de-esser (I hadn't ) to try to tame sibilance when there wasn't any to begin with. Cymbals sounded "phasey" and " swirly" on the decays. Acoustic guitar lacked clarity and definition, and it almost had the sonic signature of having a cheap tube pre plug on it... it was colored, but not in a good way... it was muddy, lacked clarity. Sonar was the worst offender, but there were issues in PT as well, just not quite as noticeable. None of the above was present while playing these track back in Samplitude. All the tracks played back as they were recorded - clear, clean, transparent. I'm not trying to convince anyone of anything here. I'm just giving my personal observations based on my own tests. I think it's also important for me to state that I'm not against the use of processor or FX plugs, either. I use them often, as long as I have a reason to use them - meaning that I don't just randomly throw up a bunch of plugs on miscellaneous tracks just because I have them. And, I couldn't agree more that these test were anything but scientific. But in the end, it's what we hear that counts, far more than what numbers or specs claim; or at least that's what I think, anyway. IMHO donny
  4. My story... FWIW.... I was a long time Sonar user. I'd started out with PT back in the bad old days before they got their sh+t together with midi integration, but I moved to Sonar simply because they handled that particular facet of production better at that time. As I grew accustomed to Sonar's worklow, I just stayed with it, out of convenience and familiarity more than anything else. About a year ago, a friend of mine - an engineer whom I respect very much, and who I have worked with for quite awhile - recommended that I try Samplitude. So, I downoaded the 30 day trial, opened it, and then immediately forgot about it because it seemed to be so bloated, and the learning curve seemed far too steep for me, and I had clients in the middle of projects that I couldn't risk putting into downtime or into a foreign environment. So, out of familiarity, I went back to Sonar. A few weeks later, my friend talked me into trying it again; and because he seemed so interested in getting me to use it, I tried the program with about 8 days left on the trial period. I finally got familiar enough with it to recording some tracks .... and I had a "wow" moment. There was more clarity, more truth, more acuracy, than what I'd grown used to while using Sonar. It was if someone had cleaned my audio perception window with a "sonic windex". Audio had far more clarity and transparency than anything I'd heard in Sonar. I decided to do my own comparison, and while certainly not scientific, I was amazed at the difference(s) between how each platform handled the audio. In comparison, Sonar sounded "smeared" and "phasey" to me, while Samp had transparency and truth. I took it one step further and imported files I'd recorded in Sonar and imported them into Samp. These files - unprocessed, dry, raw - sounded entirely different when played in Samp. Again, the best description I can give is clarity; total transparency and accuracy in the sonics. I then recorded some tracks in Samp and imported them into Sonar, at which point the "smearing" and "phasiness" once again became evident. I don't work for Samp. Neither does my friend who turned me onto the program. And in fact, it could be accurately said that I actually went into Samplitude pretty much kicking and screaming. Over time, I came across a few other peers who had also made the switch from other platforms to Samp, and they told me that they had also experienced a dramatic difference in the audio between Samplitude and the other platforms they had been using ( one former PT user, two former Sonar users - other than myself ) ... and I began to realize that it wasn't just me. Prior to switching, I was one of those people who insisted that all DAW platforms sounded the same. It was with a great amount of humility that I had to alter that stance - and admit to others whom I had so vehemtly proclamed this to in the past - that I had been wrong. So... Scientific? Hardly. Power of suggestion? Doubtful, as I was actually looking to dispell notions that Samplitude (or any DAW platform) would sound better than any other. I can only go by what my ears tell me, and they told me that Samplitude has far greater transparency and accuracy in its audio playback than Sonar does. I can't comment on a comparison to PT; as I never ingested the " Use Avid or Use Nothing" Kool-Aide that so many of my peers seem to so wilfully consume, but one of my peers has told me that he feels that Samp sounds better than PT does. He keeps PT around for those clients who insist upon its use, but when he works on his own projects, he uses Samp. The basic premise for me is, I don't need to prove anything to anyone else, one way or another. I simply need to prove it to myself. And I've determined that Samplitude sounds much better ( to me ) than Sonar does. FWIW, ( which to many here, I'm sure will be very little)... d/
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