5×3 FX 2020.2 WiN
Team V.R | 13 February 2020 | 1.02 GB
(Win64; AAX, VST3, VST)
Viewed 9348 By Music Producers.
FiDef employs a highly specialized, patented process to create a custom noise profile that is tightly correlated to the source audio. The noise layer is sub-audible, but FiDef makes use of a phenomena that exploits the brain’s ability to make use of sub-audible noise to enhance the interpretation of sound. The noise layer also survives the encoding process to lossy formats, ensuring mixes uploaded to popular streaming services retain the sonic characteristics of the full resolution source.
Austrian Grand piano was sampled from a 100 year old Bruder Mikula Wien Austrian grand through a pair of AEA R84 ribbon microphones into an AEA TRP ribbon microphone preamp. Prior to recording, the piano’s hammer felts were sanded down to warm them up a bit. The piano was sampled in stereo under the lid, because that’s where the tone sounded best, at a sample rate of 44.1 kHz. It took many weeks to sample the piano entirely, as it was in such a state that most of the tuning pegs could no longer hold a pitch for any length of time. The piano was sampled labriously, with the softest to loudest dynamics being played, resulting in a library that can boast 10 velocity layers and 2 note round-robin.
Electric Bass was sampled from a Yamaha BB424x electric bass guitar. The bass was modified so that individual pickups were wired to independent jacks, thus allowing for independent sampling of the bridge and neck pickups. Volume and tone pots were bypassed, so resistors were wired in their place to minimize the “ice pick” sound of an electric bass without pots. The pickups were then run into individual Radial 48 active direct boxes and Grace 101 preamps, which provided additional gain. Sampling began by recording with the target of 4 velocity layers with 5 note round-robin. The strings of the bass were kept relatively bright and fresh. Nearly the entire bass was sampled in this manner, but the results were unsatisfactory, so the bass was re-sampled from the beginning with 10 velocity layers, 4-note round robin, and mellow strings.
Beats Drum VST, Au, and Kontakt sample library was created by sampling 3 drum kits and 14 different snares using different combinations of drum heads and tunings in an acoustically dead environment. The end result is a large drum sample library with interchangeable parts that sounds great no matter the combination. The various kits and drums were sampled utilyzing the Glyn Johns method. Drum overheads were a pair of Shure SM81’s, bass drums were recorded through an Audix D6, and snare drums were captured with a Shure SM 57, with various spot mics used to beef up the sound of the toms when needed.
Wurlitzer virtual instrument plugin was sampled from an “early model” 1970’s Wurlitzer 200A electronic piano. The process began by close-miking the piano with Beyerdynamic MC930 condenser microphones on the Wurlitzer’s built-in speakers, and an AEA R84 Ribbon Mic on the line-out signal through a Fender Deluxe Reverb Amp. These signals were fed into Grace M101 and AEA TRP Preamps respectively. The wurlitzer’s amplifier and preamp were re-capped in an attempt to save the amplifier, but about half way through the sampling process the amplifier died, which eventually killed the power transformer. The preamp, amp, and power transformer were all replaced and sampling continued. Well sampling the bass notes, it became apparent that the Wurlitzer’s built in speakers also needed to be replaced.
The digital world with its clarity and accuracy lacks some vibe from the old times. ‘Create a front door for every recording, and call it Front DAW, guys,’ said he, ‘so that every track would have a true analogue input.’ Thanks to him you can turn your DAW Mixer into a real Analogue Console.