The TLA Fatman is a prosumer compressor with presets that were geared towards easy mixing. Adds depth and clarity and is mainly on the clear side. Use if you wish for a high fidelity mix. The Box actually has presets that made sampling easy. The presets are – Mojo – nNrmal, High, low, medium. Acoustic guitar, Bass guitar X2, Electric X2, Keys, Kick, Kit, Mix X3, Snare and Vocals X3.
This sampling is part of the Microphone Locker Series. These presets need to be combined with my various preamps to really shine. They sound harsh on their own as I used very transparent tools to sample them, but plug them ‘virtually’ into one of my preamps to get them to sound right. A bright mic needs a soft preamp like the E-M-EYE and a smoother mic like the ribbons I offer need perhaps the brighter pres like the TCS ( API ). Up to you to experiment but that is why having the full array of my preamps can turn this collection into a powerful sound sculpting arsenal. Sampled with ‘Prismsound Orpheus’ precision you will not be disappointed. Provided in 192 khz, 96 khz and 44.1 khz. 9 presets. Library size is 272 MB. 10 distortion kernels. 3 distances. Please note that these require a fully licensed Nebula Pro license to enjoy.
Sampled with ‘Prismsound Orpheus’ precision you will not be disappointed. Provided in 192 khz, 96 khz and 44.1 khz. 36 presets. Library size is 856 MB. 10 distortion kernels. Please note that these require a fully licensed Nebula Pro license to enjoy. This is a sampling of this special box- known for adding a hard sizzle to audio material. It can be great for adding a edge – awesome on vocals. Not much in the way of curves but you can certainly carve your tracks to suite.
This sampling is part of the Microphone Locker Series. These presets need to be combined with my various preamps to really shine. They sound harsh on their own as I used very transparent tools to sample them, but plug them ‘virtually’ into one of my preamps to get them to sound right. A bright mic needs a soft preamp like the E-M-EYE and a smoother mic like the ribbons I offer need perhaps the brighter pres like the TCS ( API ). Up to you to experiment but that is why having the full array of my preamps can turn this collection into a powerful sound sculpting arsenal. Sampled with ‘Prismsound Orpheus’ precision you will not be disappointed. Provided in 192 khz, 96 khz and 44.1 khz. 6 presets. Library size is 184 MB. 10 distortion kernels. 2 distances. Please note that these require a fully licensed Nebula Pro license to enjoy.
Part of the proceeds of this work support my chosen charity,the Mumvuri Project. This is an orphanage that I am the patron of in my native Zimbabwe in Africa and this website is an integral part of my fundraising for them. This sampling is part of the Microphone Locker Series. These presets need to be combined with my various preamps to really shine. They sound harsh on their own as I used very transparent tools to sample them, but plug them ‘virtually’ into one of my preamps to get them to sound right. A bright mic needs a soft preamp like the E-M-EYE and a smoother mic like the ribbons I offer need perhaps the brighter pres like the TCS ( API ). Up to you to experiment but that is why having the full array of my preamps can turn this collection into a powerful sound sculpting arsenal.
Sampled with ‘Prismsound Orpheus’ precision you will not be disappointed. Provided in 192 khz, 96 khz and 44.1 khz. 60 presets. Library size is 1.4 GB. 10 distortion kernels. Please note that these require a fully licensed Nebula Pro license to enjoy. A beautiful mastering EQ that adds just the right amount of colour to your tracks. Emulated here are the Filters. Not exactly transparent they offer a slight lift in the high end as well as getting rid of any undesired frequencies at the extremes.
This set is ‘based off of’ an original release model of a compressor that, since its introduction in the early 80s, has famously found a lot of use as a bus comp. It’s known for its characteristic, smooth sound and ability to ‘glue’ the elements of a mix together. It has gained many die-hard fans who use it every time they mix, and it has been used on many classic recordings. It can also be used in many situations besides bus compression alone. Some like to use it to beef up electric/acoustic guitars, pianos, vocals and other sources, and it even gets used while tracking by some. It has been called a desert island piece. You don’t need many dBs of compression to get a benefit out of it, with common use involving just a bit of gain reduction. Some even use it without compression just for its tone. On the other hand, it still sounds great when you push it for lots of gain reduction. These programs were sampled in stereo with high-end cables and the Lynx Aurora 8.
