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Titanium (multiband compressor)

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Re: Titanium (multiband compressor)

Postby nonstandardryder » Thu Nov 20, 2014 5:44 am

I am personally very excited for this. Thanks for updating us with the progress!
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Re: Titanium (multiband compressor)

Postby kels » Thu Nov 20, 2014 8:35 am

yes there are 3 nebulas inside working at crazy speeds (program rate around 40 microseconds)
Anyway we are using an awful number of new techniques for reducing cpu load, never used in nebula.
3 band will be quite cpu intensive, but I think the main purpose of it is for mastering. Single band ones are quite ligher than magenta atm, we are working for optimizing them further. I think double band will be in the same ballpark as magenta.


I'd like to dedicate a single machine for this one. I have Nebula Server working perfectly here but, as there is no Acqua Server version, has anyone already tried Reaper ReaMote with Acqua ?
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Re: Titanium (multiband compressor)

Postby giancarlo » Thu Nov 20, 2014 10:06 am

no atm you can't: you could load a single preset, but titanium is a combination of presets.

but on the paper you could. I think we miss an implementation.
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Re: Titanium (multiband compressor)

Postby Mplay » Sat Nov 22, 2014 8:29 pm

Hi G! Looking forward to this one. How will you implement the sidechain? Separate for each band?

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Re: Titanium (multiband compressor)

Postby giancarlo » Sat Nov 22, 2014 9:30 pm

no sidechain initially.. but we could release it just later
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Re: Titanium (multiband compressor)

Postby timdestexhe » Mon Nov 24, 2014 8:44 pm

Start this presale already!!!! :D #hyped!!
Nebula, Pearl, Magenta, Honey, Aquamarine, Titanium
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Re: Titanium (multiband compressor)

Postby cdsoundmaster » Wed Nov 26, 2014 7:39 am

Hi everyone,
I don't want to take away from the main topic of the Titanium, and I am sure the fast envelope speed is going to be great- but to answer the points brought up about tape- there are a few points you guys bring up that make it a good reference.

The separate stages process that I developed really provide a benefit as opposed to a challenge to the process. When I mention the years, literal years, that went into designing these, I came to the realization that it was better to break it into parts.

The first reason is because what VVKT is able to do with direct dynamic kerneling for devices in their clean-to-mid amounts of harmonic content is the best approach for capturing the type of personality we want to hear from specific machines. Specific is the word of emphasis. The difference in what a Sony prosumer device sounds like with its transistors and tape heads versus a 50's Wollensak tube tape machine, versus a famous multi-platinum Stu multi-track makes for an example that pushes the first stage- to answer an important question: What is "tape" sound. What is a tape plugin? This used to be a no-brainer, mainly in the early attempts at tape algo's proved it was harder to do than many thought. But- in the analog days it was obvious that every machine brought its challenges, unique sound, quirks, preferred stock, different music it excelled at etc. So, finding a way to provide this sound in digital to me meant it was obvious to make a collection that spans the range.

Then- what is that mysterious "instant" compression thing anyway?

Before there was Nebula, VVKT, and even a direct market to dynamic convolution, originally from Sintefex then licensed to ...someone, there was a certainty that a unique sound that was truly "that" tape sound, was coming from some unique kind of compression character but it was elusive enough that even software developers that had essentially nailed the speed of the 1176 avoided tape like the plague.

The non-linear character of tape made it expressly hard to capture the things that make it sound so good in any sampling technique. So, it took a special proprietary process that I was able to come up with to truly nail the sound. Once that was in place, I could figure out more by testing, by EAR, what was different from real compression and R2R tape machines- and the answer was that it is in the harmonics and not just some elusive compressing element. MOST of what we consider "instant' compression is not a speed issue, but a harmonic distortion issue. The wonderful benefit of multiple stages was now obvious. Instant compression was actually instant harmonic saturation happening in some degree all the time. Even the lowest levels filled in dynamic gaps and made the final waveform look and sound fuller even when there was barely any change in frequency.

R2R gives us the way the machines sound- unique, different from each other, liking certain speeds and tape stock... perfect! But, what about when the Producer or Engineer likes intentionally messing things up to make it "hotter" or to intentionally drive one instrument slightly harder than another?

We learned that there were always things missing in digital that we used to get so easy in analog. Certain aspects of a mix used to just come together. It was through my demystification of that tape compression sound that brought this to digital with Tape Booster Plus. There were some saturator plugins that did neat things to sound, but there weren't any real sounding tape saturators that truly brough back that missing element. It took monthsssss of messing with levels, programs, dynamics, driving circuitry, listening to audio loops through different tape machines, to isolate the perfect combination of harmonics, and although I wouldn't wish it on anyone or ever want to repeat that experience... it was one of the most awesome things to look back on and know it was finally achieved.

Since there were some fairly bad saturators costing as much as $200-300, I wanted to make TB+ affordable for anyone to decide to get it whether for Neb or VST or both, so it is possible that some may see the cheap price tag and under-estimate TB+, but it is truly 90% of that elusive instant compression thing that we always used to attribute to something else.

The VTM-M2 being the result of doing something absolutely non-linear and analog, that no other algo had done successfully in my opinion- make something analog without pretending to be analog. It doesn't randomize and it isn't linear- I created a complex process that builds upon itself to make the real complex process of saturation, limiting, and compression, that is the missing element of that last subtle 2-10% of that instant tape compression sound. The goal was that it had to work with every machine and it had to make the over-the-top part accurate as much as the super hard to hear details. By matching the absolute harmonics that I learned about in TB+ to the amount of limiting and compressing that are nearly universal to every kind of machine, old, new, tube, solid state, wide magnetic wide or narrow, fast or slow- we isolated the ability to bring that last portion of reality to life- so it can be used with any specific machine, R2R or Apex, but it can also be used on its own just as a general all-in-one tape mastering or tracking device.

R2R, TB+, Apex, VTM-M2 will always make a great complement to other Acustica Store items and will always be there on the CDS site, for NebPro, for future Neb versions where a person can load a console channel followed by an R2R followed by TB+, and save their preset all in Neb, and the wonderful thing is that tape changes everything else in the chain- so every time you get a new eq or compressor- especially the vintage classic stuff... you will find the true joy of placing it in historical context when adding tape to it- before or after- as it was done in the day-

The complexity of frequency changes, harmonic depth, driven versus not- it all brings out the best in other vintage gear which, until the 90's had never been heard out of context in a recording- without tape or at least a live lacquer master, but almost always tape. So, now, when someone is working in digital, and they wonder "why can't I get 'that' sound? I have a great 1176 emu, I have a great la2a emu, and I learned great lessons about how to mix, and I have a u47 knock-off mic and a tube preamp and great acoustics... why is it still different than my favorite band from the 60's, 70's, 80'?" The answer almost universally will center around tape and on a rare occasion how it sits in the chain with the console.

The ideal answer really and truly is- the matter of tape has been resolved and no waiting necessary :-)

dacaveprods wrote:
giancarlo wrote:ok got it.
We'll release also a tape, maybe using the new ultra fast tech (a very fast program dependent compression is possible now)
Maybe on next year.


[quote=Maybe working with CDS on this might expedite the process n make all happy and owners of R2R, etc can get a discounted price as i have both Neb n Acqua versions...i'm sure many might have done the same... ;)


Yes, please.

The CDSM tape collection appears to have taken an absolutely staggering amount of work, and the sound is perfect as is. Why go though such a tremendous amount of redundant effort, sampling other gear that may or may not be up to the same maintenance condition to come up with something that is maybe at the same level of quality? Maybe at the same level. Unless there are business or licensing reasons preventing this, it wouldn't make sense to do it again from a product development standpoint.

Right now, I don't use the third stage, but I use both the R2R and the TB+. Brilliant stuff. I have both the Nebula and Acqua versions as well.

If these three plugins were available in a single plugin made through a collaboration with CDSM, people would go ape.

In the meantime, yeah, it's three plugins, but the sound is available today, and if you're like me, you pre-process your mix with tape and console, then bounce before getting into the creative side of the mix anyway, so it's really not so bad.

I could see it. EQP-1 that is for sale here on the site is Acustica/CDSM. Maybe this is a reasonable possibility?

Do it guys![/quote]
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Re: Titanium (multiband compressor)

Postby kindafishy » Wed Nov 26, 2014 4:10 pm

^ well said! The matter of tape truly has already been resolved. This is a great post that should be copied to it's own thread for fear it will get lost in this Titanium thread...
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Re: Titanium (multiband compressor)

Postby dacaveprods » Wed Nov 26, 2014 5:09 pm

Well Said...
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Re: Titanium (multiband compressor)

Postby flipnaut » Wed Nov 26, 2014 10:48 pm

very nice post...

if there would be a chance to get R2R/TB+/VTM-2 in only one Plugin with a nice picture of a tape machine... and even if it would be the "old" samples by cdsm, i would defenetely buy it!

I really need the 3 plugins in one: Colour of Tape, Saturation and Compression!... and then easy and fast to use.

If that thing sounds good and could beat some other plugins in shootouts like satin by u-he... it would be very nice.
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