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I was already done with it.

Back on track here, I've been hunting for quality celtic flute instruments and I found some that, while really on sale or anything, are still a hell of a deal.

http://www.embertone.com/instruments/ivorywind.php - $10 for the low whistle.

http://www.embertone.com/instruments/shirewhistle.php - $20 for the tin whistle. Both are pretty high quality as well. I'm definitely picking one of these up tomorrow after festivities.

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VSTBuzz: 50% off “Complete Orchestral Collection” by Peter Siedlaczek - Normally €178.99 now €88.99!   More information at http://vstbuzz.com/deals/50-off-complete-orchestral-collection-by-peter-sie

Spitfire Audio is discontinuing Albion Volume #1 and selling it for £149/$230. Not sure why they're discontinuing it, but it's a steal right now.   http://www.spitfireaudio.com/albion

https://producerschoice.leadpages.co/5-packs-1-dollar-fb/uh, whaaaaaaaat?   1$ for 5 producer's choice sample packs. For a buck I'll give em a shot

The ivory wind wasn't quite as good as I expected. Maybe I just need to practice with it some more. I'm not used to using "True Legato" anything, so trying to make it do celtic flourishes and bends and such are difficult. Others have been able to do it, but I haven't figured it out yet.

The Tin Whistle I haven't gotten yet.

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FabFilter is running their annual Christmas Sale on bundles. 25% off. If someone wants an extra 10% discount on a bundle or individual plugin PM me your email. I can get you a discount code since I already own a few of their plugs.

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native instruments is having a 50% sale on their synths. Any of them that anyone would recommend? i already have massive.

FM8, if you're into bells, e. pianos, etc. I think it excels at that, but there's plenty else you can do with it if you put in the effort. :)

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native instruments is having a 50% sale on their synths. Any of them that anyone would recommend? i already have massive.

I've gotten a little use out of Absynth, but the stock presets are just too wonky and tough to integrate into a track, and it's not exactly a user-friendly synth for designing patches from scratch, but it's definitely a powerful synth.

FM8, like all FM synthesizers, is a tough nut to crack, but if you can figure out the voodoo art of FM synthesis -- and there are definitely some rules* to making it work for you -- there's a ton of very unique, very cool sounds to be made with it. Plus, the psychedelay effect it has in its effects module is worth the price on its own. You can use the FM8 FX plugin as an effect for other sounds. I abuse the shit out of it for making cool pads and delay effects.

Massive. Buy it again to remind yourself how useful and awesome it is. Recently, I've been designing every sound in Massive, from ambience to super-lush synthetic orchestras to a whole chiptune rock band. I really like the interface and ease of modulation, and the macro system is SO convenient for really complex-sounding modulation that, if you set your macros right, is coming from the automation of only one knob. Hnnngh, I could gush about Massive all day.

*Tuning the modulating oscillator (operator) to 5ths and octaves will lead to harmonic, pleasing results; 4ths to a lesser degree. You can create gnarly sounds by tuning the operator to pitches other than perfect intervals and octaves to add grit to sounds -- best done with an FM amount or volume envelope and multiple carrier oscillators (the oscillator being modulated which actually produces the sound) so the grit isn't the focus of the patch. Makes good sizzly, glassy, or otherwise sparkly sounds. Tends not to make warm sounds very well, but you can make it work with post-processing.

Edited by ectogemia
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...there are definitely some rules* to making it work...

...

*Tuning the modulating oscillator (operator) to 5ths and octaves will lead to harmonic, pleasing results; 4ths to a lesser degree. You can create gnarly sounds by tuning the operator to pitches other than perfect intervals and octaves to add grit to sounds -- best done with an FM amount or volume envelope and multiple carrier oscillators (the oscillator being modulated which actually produces the sound) so the grit isn't the focus of the patch. Makes good sizzly, glassy, or otherwise sparkly sounds. Tends not to make warm sounds very well, but you can make it work with post-processing.

To others:

Other ways to say these things are "modulator", "FM depth", and "carrier signal", respectively.

Also, you can have FM pads, e. pianos (EX: DX7, or maybe this), etc. and have them be warm even without post-processing. You'd just need to be very particular about the modulation depths and subtractive synthesis incorporation, even if it's all internal to the synth, so that it sounds swell out of the box. Mixing in a comb filter may actually help, too, if done carefully.

Edited by timaeus222
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I've gotten a little use out of Absynth, but the stock presets are just too wonky and tough to integrate into a track, and it's not exactly a user-friendly synth for designing patches from scratch, but it's definitely a powerful synth.

FM8, like all FM synthesizers, is a tough nut to crack, but if you can figure out the voodoo art of FM synthesis -- and there are definitely some rules* to making it work for you -- there's a ton of very unique, very cool sounds to be made with it. Plus, the psychedelay effect it has in its effects module is worth the price on its own. You can use the FM8 FX plugin as an effect for other sounds. I abuse the shit out of it for making cool pads and delay effects.

Massive. Buy it again to remind yourself how useful and awesome it is. Recently, I've been designing every sound in Massive, from ambience to super-lush synthetic orchestras to a whole chiptune rock band. I really like the interface and ease of modulation, and the macro system is SO convenient for really complex-sounding modulation that, if you set your macros right, is coming from the automation of only one knob. Hnnngh, I could gush about Massive all day.

*Tuning the modulating oscillator (operator) to 5ths and octaves will lead to harmonic, pleasing results; 4ths to a lesser degree. You can create gnarly sounds by tuning the operator to pitches other than perfect intervals and octaves to add grit to sounds -- best done with an FM amount or volume envelope and multiple carrier oscillators (the oscillator being modulated which actually produces the sound) so the grit isn't the focus of the patch. Makes good sizzly, glassy, or otherwise sparkly sounds. Tends not to make warm sounds very well, but you can make it work with post-processing.

im definitely thinking fm8 is the one to go with at this point in time then. Or i could ya know, actually use massive. i understand vaguely how massive works, i just havent broken myself into using it instead of the watered down stock synth i use now. ill try out the demo of it quick before i get too crazy with it. i think the sale runs for a few more days.

anybody try out razor? it seems like its pitched as a synth for people trying to make wobble sounds, but if it can make odd ambient sfx or something else thats sonically interesting, it might be worth the 30$ or whatever it costs.

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