The tight, yet somehow round and smooth sound I could to achieve on electric bass and guitar was satisfying, and the analogue-like sweetening is as good for vocals and acoustic guitars as any modelling plug-in I've heard to date. Rather than struggling to make a warts-and-all copy of a piece of outboard gear, Kush Audio have thought about how to translate their hardware design philosophy into a plug-in that takes advantage of the power and flexibility available in software. The Headroom control is a neat and useful feature that I hope more developers will adopt, and I like the vague meters, which kept reminding me to use my ears! I have this on a drum buss down here. It doesnt get much easier that that! So say you get this thing setup the way you like it. I started getting into recording in 1984 with a Tascam 244 4-track cassette system.
I insert it on a track and… No. There are a few exclusion so check out our Returns Policy page located in the Customer Service section at the bottom of the page. Scott recommends that the Headroom is set so that the green Ample indicator flashes regularly, and the red None one flashes very occasionally. Yet he also sees capability in software that an all-analogue design team can only dream of. I bypass and… It sucks. If you don't like your item for any reason, contact us within 30 days of receipt and we will authorize you a return authorization number no questions asked! There also seems to be a level of complex and unpredictable interaction between the cores, whereby introducing more level on one can start to affect the colour of another.
In 1989 I completed my Bachelor of Arts, majoring in Music Technology from La Trobe University in Melbourne, Australia. By Matt Houghton Does Kush Audio's expertise in designing analogue equipment translate into the plug-in realm? Each setting sounds very different, but all will have their uses, and you'll soon get a feel for the different flavours on offer. The processor has three engines — saturation, compression and density. Learn these powerful sonic tools inside out, and make your next mastering job fun, creative all with world-class sound. This is a bad ass that will fit any genre of music.
Thankfully, then, you can push this device into processing territory that most real hardware fears to tread: it's one thing making a compressor breathe or pump, but it's quite another pushing it into the kind of territory that's on offer here, which I'm sure will find as many fans in pop, dance and hip-hop production as the more subtle effects will in country, folk, rock and blues. Despite this, I've yet to hear anything that is genuinely the equal of its analogue hardware equivalent: impressive, perhaps, and certainly usable — but neither wholly accurate, nor as subjectively pleasing for many tasks. Simply checkout the Financing page located in the Resources section at the bottom of the page. When I deployed multiple instances on kick, snare and toms, as well as on the stereo drum bus, and avoided being heavy-handed with any one of them, the result was even more pleasing. I was classically trained in piano from the age of 7 and had a strong obsession with popular music right throughout my youth.
You can apply it to either the top end or the mids. This is particularly the case when deliberately 'pushing' a dynamics processor in search of interesting sonic textures. This can be a satisfying effect in its own right, although I found that on most sources there was far more 'effect' available here than I'd ever find myself wanting to use — and I'm certainly not shy when it comes to this sort of processing. At first glance, it looks like a typical analogue-modelling plug-in. Would you suggest starting with a free platform like WordPress or go for a paid option? Throw it on bass, an acoustic upright, same thing. That way, you'll get a much better feel for what's going on, and I think this is essential if you're to get the best out of this plug-in. I'd recommend you start by bypassing the Compression and Density sections and focusing your attention on the Saturation — and, in particular, the small Headroom knob.
What training have you had? All of theirs I use anymore is Kontakt. Either it will sound better or it will suck. It must quite simply be heard to be understood. I think I'm good at training because I really love this stuff - I genuinely want to show people how cool these tools are. I've been a Pro Tools user since then right up to the current day. Finally, there's a Link control beneath the meter: engaging this is essential if you wish to prevent the phantom centre of a stereo file from constantly shifting across the panorama when really slamming things. You can still adjust all of the controls whilst in Cheat Mode, incidentally.
Michael breaks down the interfaces and how these two amazing, analog sounding plug-ins can be used on several different types of instruments. There are three distinct sections: the leftmost is labelled Saturation, the central section Compression, and that on the right Density. Ensure that you update this again very soon. It does what it does. Not only are there no attack or release controls, but everywhere on the interface you'll find subjective descriptions instead of figures and technical terminology. And then we have five separate compressors.
It adds more saturation to it. Get your headroom setup before you move anything else when you put this plug-in in. There are some exclusions so check out our Shipping Policy page in the Customer Service section at the bottom of the page. Anyways, like us on Facebook, holler at me on Twitter, I love talking to you guys. You want it to hit all of the major transients so we kind of get that sweet spot in there. The latter's legending runs from Subtle to Heavy, with no other indications in between.
When it Saturates, it also softens any harsh digital edges and makes unruly or uninteresting tracks harmonically richer and easier to mix. The guys over at Kush Audio are super passionate. Each of these is sort of its own attack, release, knee, threshold, sort of recipe for compression. I married this hardware up to Opcode's Studio Vision for many years as well as getting in at the ground floor with Pro Tools v1 in 1991. On a drum bus, I was able to achieve a nicely sweetened sound with it, and the sound had a depth and solidity that many plug-ins seem to leave me wanting. State of Flux The main technique behind successfully using Pusher, then, is balancing the four Cores in conjunction with the Flux Drive control.