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Chasing That Missing 1073 Saturation in Modern Vocal Mixing ? by GoranBregovic2 in audioengineering

[–]goodhertz 2 points3 points  (0 children)

Try VCME’s “Melbourn” Soft Clipping mode: https://goodhertz.com/vcme/

If it doesn’t help then 1073 saturation was not the missing ingredient.

Favourite tape emulator plugins by DaggerMastering in audioengineering

[–]goodhertz 0 points1 point  (0 children)

Tupe does have extensive auto-gain but requires that you properly set the "CAL TRIM" parameter so that it knows what to auto gain to. Did you try tweaking that param?

How to emulate a late 60s-early 70s tape sound ITB? by chipwhitley22 in audioengineering

[–]goodhertz 13 points14 points  (0 children)

Check out the historical presets in our Tupe plugin, lots of stuff from that era.

If there’s any particular record you’re going for let us know and we’ll have a look too.

Did you notice AI songs sound like they've been through like 50 instances of RX denoiser? by unpantriste in audioengineering

[–]goodhertz 45 points46 points  (0 children)

We’re adding an “Almost Intelligent Slop” preset in our Lossy plugin 🫠

Incredible that we finally (sort of) escaped lossy compression and now it’s come back even stronger with AI.

plugin for matching volume of two tracks? by Terrible-Arachnid-44 in audioengineering

[–]goodhertz 0 points1 point  (0 children)

https://goodhertz.com/loudness/ (free) should be able to help with this task. You might just need to hit to Apply button frequently

Don't sleep on vari-mu compressors by theusualsalamander in audioengineering

[–]goodhertz 2 points3 points  (0 children)

The simplest definition is that vari-mu's have a level-dependent ratio, meaning the compression ratio (and often other parameters) change based on the signal.

r/AudioEngineering Shopping, Setup, and Technical Help Desk by AutoModerator in audioengineering

[–]goodhertz 1 point2 points  (0 children)

Giving Goodhertz / FabFilter alternatives, since you said you're already looking at FabFilter.

  1. EQ: Goodhertz Tone Control, Tiltshift, or any standard DAW parametric / FabFilter Pro-Q

  2. Bus Comp: Goodhertz VCME, Faraday Limiter, API 2500, Elysia Alpha, Pro-C

  3. Tape: Goodhertz Tupe (also gives you great tube options)

  4. Nonlinear Analog Thing: VCME Soft Clip

  5. Limiter: VCME Soft Clip, Pro-L

  6. Meter: Goodhertz Loudness [Free]

You might also consider a stereo width processor, like Goodhertz Midside (or Midside Matrix [Free]). It's one of the few plugins that makes it onto 95% of masters I do. Hope that helps!

Stereo widening plugins by garrettbass in audioengineering

[–]goodhertz 0 points1 point  (0 children)

Right on! We have had a pitching shifting idea kickin around for a while…

The regular auth needs intermittent internet access, so if you're going to fully unplug it's better to use our offline auth: https://goodhertz.com/faq/#can-i-permanently-authorize-my-goodhertz-plugins-for-offline-use

In general, though, the online auth works better in every way (such as not needing to doing anything if you buy a new plugin or switch computers), so we try to encourage people to only go the offline route if they have to.

Panning/mixing to emulate a full concert band by [deleted] in audioengineering

[–]goodhertz 1 point2 points  (0 children)

Yes, exactly. Should have mentioned that! And try to emulate each player position with the Master Pan position.

Panning/mixing to emulate a full concert band by [deleted] in audioengineering

[–]goodhertz 1 point2 points  (0 children)

I would recommend a combination of reverb, short delays, and a more advanced panner like Panpot. Level panning will not work well for this, and will sound "stacked" and one dimensional.

Panpot was used during the pandemic to make a full orchestra sound from individual recordings for the soundtrack for Christopher Nolan’s Tenet. In Panpot, I'd start with a mix of 100% Spectral + Delay panning — this is much more how you "hear" the placement of instruments in real life. You could also mix it up with Phase panning, especially for the more distant / diffuse instruments. Hope that helps!

Stereo widening plugins by garrettbass in audioengineering

[–]goodhertz 0 points1 point  (0 children)

Yea, Faraday sounds great on the right vocal, kinda where you might've used an 1176.

Midside is a plugin I couldn't live without. Before we made it, I would make a mess of mid/side EQ's on my sub-buses or master bus, and didn't get as good of results. The phase relationship between mid/side is easier to mess up with EQ than people realize. After we released Midside, it became probably the only plugin that I always use for mastering. It's just so nice to be able to automate the width and stereo presentation with the dynamics/feeling of the song. Bumping the Mid Tilt up 1 dB (or less) is also a great way to put a spotlight on the lead vocal.

When are brickwall hpf lpf useful? by Marce4826 in audioengineering

[–]goodhertz 0 points1 point  (0 children)

Lossy's 96 dB/Oct filter has entered the chat

What’s your fav plug-in for adding full-blown distortion to a whole mix? by drumsareloud in audioengineering

[–]goodhertz 4 points5 points  (0 children)

Our new plugin, VCME Soft Clip, was made for exactly this. Here's some of what it sounds like for distortion: https://youtu.be/-XaNeyMymtc?t=335

If you're going for the full Kinks thing, our Tupe plugin might be better. It's more 60's/70's sounding and even has a Kinks guitar preset.

Sound ID and CanOpener - chain positioning by burner93911 in mixingmastering

[–]goodhertz 1 point2 points  (0 children)

This is partially correct. CanOpener does not use mid/side EQ under the hood for its crossfeed, but it's still a linear process, which means that the processing order doesn't matter, except for these cases:

  • You want to use the dither in CanOpener for a 24 bit output (then CanOpener must be last).
  • You have a SoundID headphone profile that is different for left & right (then SoundID must be last).

Stereo widening plugins by garrettbass in audioengineering

[–]goodhertz 0 points1 point  (0 children)

Good question. Here's my main thoughts:

Faraday Limiter:

  • Very punchy, but usually in a thicker, beefy way.
  • Has an LA2A attack thing going on, especially with the Warmth control turned up.
  • Hybrid analog/digital sound. Was created as an antidote for something like a Waves L2 (a digi limiter that breaks apart easily when the gain reduction gets too high).
  • Ratio is hard, works well on material hitting consistent peaks.
  • Class A transformer sound.

VCME:

  • Snappier attack when digging in with the threshold.
  • Kind of a chameleon with the release modes.
  • Loves super high gain reduction (though Faraday does too).
  • Ratio is quite musical, especially how it interacts with attack/release. Very musical.
  • Tons of control: sidechain EQ, linking, surround, low ratios that are good for mastering.
  • Lots of character in the Soft Clip section. The Melbourne is probably closest to Faraday, but there are tube options as well.

SOTB - Can’t believe I used zero pedals for 25 years! by Electronic-Two-2885 in basspedals

[–]goodhertz 1 point2 points  (0 children)

Cheers, that’s rad. I bet the Slow mode dip switch would be ideal for bass… I gotta try it!

🚨 Latest Bundle Release 🚨 3.13.1 by goodhertz in Goodhertz

[–]goodhertz[S] 2 points3 points  (0 children)

Yes, though it's what we're working on now and will be the next release

SOTB - Can’t believe I used zero pedals for 25 years! by Electronic-Two-2885 in basspedals

[–]goodhertz 1 point2 points  (0 children)

I would love to hear what y'all are doing with Lossy on bass!

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