It really depends on you.
If your DAW (Ableton) does everything you want, then you're good to go.
VSTs come in when you want to do more. You may decide the reverb isn't quite what you want, or you'd want a vintage synth, or orchestra, or electric piano sound, or better drums beyond what comes in the package... that's the time to look at VSTs.
That's not ...
I don't believe there's a thing like "tape compression", there are certain things happening to the sound that we explain as "compression" but really it's a collection of non linear processes, such as slew rate, crossover distortion, transformer style distortion , noise enhancement at certain frequencies , harmonic content enrichment and goes on.
You can try ...
Great question, let's hope there are some equally great answers to follow.
Gunshots come in many different shapes and sizes (single shot, automatic, small caliber, large caliber, suppressed, silenced), as well as different environments (interior, exterior, small spaces, large spaces) and flavors (antique, modern, and futuristic weaponry). Each one has its ...
Another option is to look into Sonic Core's products. Originally, the PCI card-based hardware was developed by CreamWare, but Sonic Core acquired them, and developed the Xite series of hardware based on the original technology.
The hardware can host Effects and Instrument (proprietary) plugins, which are actively developed (both commercially and through a ...
If you have a hardware midi controller with dials or faders you could assign the midi CC of one of them to the parameters you wish to change on each instance and set all tracks to armed. This would change them all instead of just one in the same way that you can play multiple instruments at once.
The tape delay (as well as other delays) has an LFO that modulates the delay time, in turn this will result in a modulation of pitch. Just keep the output on 100% wet, but use the delay as an insert (not a send).
This is the case with many mid to high end audio hardware - the compute intensive tasks are handed off to processors on the card so that your CPU doesn't need to handle them.
For creating/mastering/mixing multilayer projects, especially those with plugins or real-time effects or transitions in any DAW I would recommend an external card to handle these tasks....
I would say Gross Beat falls under the time manipulation category, it just creates stutters by jumbling the audio around a bit, and changes the speed or volume level on certain tracks. I imagine that most of the sound effects created by gross beat could be achieved quite simply by cutting up and automating property's of audio clips.
Hope this helps
After a quick google I was able to find the following:
Link to download Wavelab 7 manual (Chapter 12 for plug-in info)
Wavelab Elements 7 manual (Chapter 10 for plug-in info)
These should give you all of the information you need to do a feature by feature comparison.
I hope this is helpful :)
I often encounter this situation. In fact this is how I bumped onto your question since I again have that situation (some 10+ back vocals that all need to be pitch shifted -100 cents).
If you have the option of using a project template the best thing I found out to work is to create environment patching with a single control for a parameter across multiple ...
I think the obvious suggestion is to reinstall the other plugins and see if they work like that one did.
It could be that something in an update has become corrupted, affecting the registration of the plugins with Cubase. Reinstalling them should fix that issue.
What you're looking for is incredibly hard to implement. Filters always have a slope measured in dB/Octave or dB/Decade and it's a measure of the attenuation of frequencies beyond the cutoff frequency. This slope can never be vertical so frequencies next to each other can never be completely isolated. To increase the slope, we normally stack multiple filters....
Rick and Mo..BURRAP..orty forever! Woo Yeah.
Anyhoo, both sounds are quite simple and commonly used, but I'm not going to give you an in-depth run-through because for a start, it doesn't seem like you would know what the hell I was talking about. So, I'll give you some info and then it's up to you to LEARN!
For the Rick and Morty one, I would start with ...
You might get most mileage out of the Jesusonic plugin architecture within reaper. This is a simple scripting language which I am sure will allow you access to both audio processing and midi processing capabilities. simply generate your midi and pass it in to reaper via the scripting language.
There are a couple of graphical programming languages that allow you to build completely new DSP effects, without actually needing to write program code.
Max/MSP (together with PureData, its free sibling) is certainly the most renowned of these. I wouldn't be too sure if VST exporting works, but it seems in principle possible. Still, these programs are ...
Re: @coaxmw 's answer
Both VocAlign & Re-Voice are good tools, but I'd be careful of 'over-aligning' a choir - I once did it [with VocAlign] & ended up with 80 tracks that sounded like 6 people & had to start over to preserve the 'size' of the end result.
A choir really doesn't align that precisely, even when they're 'good'.
Melodyne might be ...
You need to use EQ/Equalization on the dry voice and boost resonant frequency with a narrow notch filter. It might match closer if you then apply a basic reverb afterward, but it will take some trial and error.
The important thing about modal frequencies is that practically they are just a higher amplitude of that frequency. If you can identify one or two ...
I've heard it refered to as a "glitch effect", it does now work in other DAWs -
Similar effects that come to mind would be:
Sugar-Bytes - Effectix,
Native Instruments - The Finger,
Illformed - Glitch,
iZotope - Stutter Edit,
10.1.3 has been released as there were complaints of some major bugs with 10.1.2. Try downloading and installing that instead.
When you're installing there is a screen with the option to choose what elements to install. There's an option for the plug-ins, so make sure it's ticked.
All of the above, but perhaps a lesser known but interesting glitch box is the Lost Technology VST, especially if your host can randomize all the parameters. I also love to combine it with the Atlantis filter delay VST. GrainCube is also good fun.
In Pro Tools, flip on the elastic audio mode to either polyphonic or monophonic. Set the track to warp and add breakpoints at random. Stretch out the waveform. Don't be afraid of the waveform turning red (I believe this indicates potential for artefacts) - in fact, embrace this. Go crazy with it. When you're done, for further glitchiness, chop up the ...