I have used many different combinations for valves and tubes from various developers here that add Tube, and Valve flavors to sampled content.
Shroomz Tube Strip is in every project as a final stage for all summed inputs, as it's filters are quite fine. MCCY's Tube EQ is great for summing two inputs of synths, but really gives the B2003 the correct crossover points that Rotary cabinets use, i.e. the woofer, and cervo motored horn. And SpaceF's FB5 mixer is a collosul synth / valve mixer. But his valve insert module FATCS4 I believe is just a stereo input of that mixer.
At any rate I was just experimenting with this module by placing it on different outputs from my ASIO module before treatment in the STM1632 mixer. I have a great Upright Piano Library from Vintaudio ( more talent from Canada, they never stop amazing me up there ), but the one called the Clinton Upright sounds the best, but decays too fast for slower passages for my taste, but the sound of it just reminds me of Casablanca w/ Humphrey Bogart, just so vintage. But the FATCS4 just adds incredible sustain and thickness to sampled material w/o the overdrive or distortion. It is a simple one touch solution to wimpy samples, and also makes any sample sweet with thick maple syrup.
My Tip,........go to his website where all of his incredible videos and tutorials await, and find this gem.
Brotha' Man Crickstone, if you read this, it is a MUST have for Gigastudio 3's overly bright libraries. This little device makes samples so sweet.
I now have a two channel out of my ASIO module where one entire instance of GVI will house samples which need some ooooommmmmpppphhhhhhh !!
Peace,
Incredible Enhancement For Samples FATCS4
I think I fucked up, this might have been custom.
I apologise if that's the case, as I was carried away by it's restoration, and sustain abilities.
Check w/ Mehdi just in case. In the forums he replies quickly, and the site is new and full of great videos and tutorials.
http://www.spacef-devices.com/dacore/in ... &Itemid=27
I apologise if that's the case, as I was carried away by it's restoration, and sustain abilities.
Check w/ Mehdi just in case. In the forums he replies quickly, and the site is new and full of great videos and tutorials.
http://www.spacef-devices.com/dacore/in ... &Itemid=27
no, it's for very soon, ... cs4 will be in there... the manual of the mixer is very long to write down.... i guess video should come to complete the less tasty readings...
FAT CS4 is a FAT device: it gives the fat without the drive. It can be used to make "valve" sound but I don't release any "valve" thing, just the FAT stuff.
Fat CS4: includes inserts. It's not like Current Sense from Ted Fletcher, but... it has something of that too. It is great on voice, bass, drums, synths... and does not take over your other ettings on that sound (ie, couple it with eqs or so called valve devices, it will just make them better
TIPS AND TRICKS USING THE FAT DEVICES
- if you master with it, which is certainly something you will want to do by yourself, it is not advised to chain 2 FAT inserts together if they are both set to "x2" and with a pot value supérior to 50%. It depends on the material of course, but generally, this will be too much and what you might get is an oversaturated sound (check the wave track always).
Instead, the method when mastering should be to use the FAT as a final device in the chain. If you have optimaster, use it after Optimaster... etc. In general use any compressor BEFORE the FAT (again, we are talking about the case where you want tot try mastering a mixed track with FAT. Generally, Fat is an input device that comes before anything like eqs, comps or whatever).
Back to mastering: you are into RnB/HipHop/Trance and need your track louder than your neigbours' ? You may want to get a "x4" sound, in your attempts to reach that Timbaland sound that most people rave about nowadays (nb; FAT is not made to generate that kind of drive, which doesn't come from a digital device anyway, but it can get close to i, by chance, as i didn't design a drive device).
In that case, try FAT-->Drive--> EQ--> FAT... this should give you the best results and the finest drives.
If you use a vsti comp, try the same: VSTI 5L2 for ex) --> (Drive ---> Eq)--> FAT
Conclusion: on individual sound , the rule is to put FAT as the first device in the chain, just after the sound source itself. In a mastering configuration, FAT should be left at the very end of the chain, just before your wave/asio inputs. Rules can probably be broken, you just try.
It is perfectly fine to have individual sounds with FAT and another FAT on the master effects. the devices will not act on the same source.
Always check the resulting wave, or do like me, ie, set the setting while recording, which allows to see how much peaks are removed and how the wave shape changes.
I could say good luck, but all you need is to press one or two button and move a pot from left to right, so you need luck only if you have no hands or no ears....
Have fun
FAT CS4 is a FAT device: it gives the fat without the drive. It can be used to make "valve" sound but I don't release any "valve" thing, just the FAT stuff.
Fat CS4: includes inserts. It's not like Current Sense from Ted Fletcher, but... it has something of that too. It is great on voice, bass, drums, synths... and does not take over your other ettings on that sound (ie, couple it with eqs or so called valve devices, it will just make them better
TIPS AND TRICKS USING THE FAT DEVICES
- if you master with it, which is certainly something you will want to do by yourself, it is not advised to chain 2 FAT inserts together if they are both set to "x2" and with a pot value supérior to 50%. It depends on the material of course, but generally, this will be too much and what you might get is an oversaturated sound (check the wave track always).
Instead, the method when mastering should be to use the FAT as a final device in the chain. If you have optimaster, use it after Optimaster... etc. In general use any compressor BEFORE the FAT (again, we are talking about the case where you want tot try mastering a mixed track with FAT. Generally, Fat is an input device that comes before anything like eqs, comps or whatever).
Back to mastering: you are into RnB/HipHop/Trance and need your track louder than your neigbours' ? You may want to get a "x4" sound, in your attempts to reach that Timbaland sound that most people rave about nowadays (nb; FAT is not made to generate that kind of drive, which doesn't come from a digital device anyway, but it can get close to i, by chance, as i didn't design a drive device).
In that case, try FAT-->Drive--> EQ--> FAT... this should give you the best results and the finest drives.
If you use a vsti comp, try the same: VSTI 5L2 for ex) --> (Drive ---> Eq)--> FAT
Conclusion: on individual sound , the rule is to put FAT as the first device in the chain, just after the sound source itself. In a mastering configuration, FAT should be left at the very end of the chain, just before your wave/asio inputs. Rules can probably be broken, you just try.
It is perfectly fine to have individual sounds with FAT and another FAT on the master effects. the devices will not act on the same source.
Always check the resulting wave, or do like me, ie, set the setting while recording, which allows to see how much peaks are removed and how the wave shape changes.
I could say good luck, but all you need is to press one or two button and move a pot from left to right, so you need luck only if you have no hands or no ears....
Have fun
I Concur,
One example.
GSIF>>>>>FATCS4>>>>>Mixer.
The first insert gets the DAS A550 which makes the sampled piano sparkle after the FAT, and since an 88 note piano is layed out like a graphic EQ with 4k at A440, the A550 can hit 4 sweet spots. I boost it 4 extra brightness so I can adjust the filters on FATCS4, which Mehdi did not mention.
One thing is for sure, I had a good sounding mix before I used the FATCS4, and DAS's A550, but now it's very polished and so FAT, it needs it's own postal code !!!
Oh BTW, somehow he manages to make this device very low on DSP. If I even need more than 2 or 3 of them, it barely raises the DSP meter. If you have a Luna card, you could get a great sound w/ this and the STM1632.
I always use my headphones for a rough mix, then run it all through 2 x Barbetta Sona 32's, w/ the Barbetta Stereo Sub ( factory beta ), and the Motion Sound Pro 3t. The low end is incredible. When you see the Brotha's heads bobbing to the beat unconciously while they're scamming on the trim, you know your shit's FAT.
One example.
GSIF>>>>>FATCS4>>>>>Mixer.
The first insert gets the DAS A550 which makes the sampled piano sparkle after the FAT, and since an 88 note piano is layed out like a graphic EQ with 4k at A440, the A550 can hit 4 sweet spots. I boost it 4 extra brightness so I can adjust the filters on FATCS4, which Mehdi did not mention.
One thing is for sure, I had a good sounding mix before I used the FATCS4, and DAS's A550, but now it's very polished and so FAT, it needs it's own postal code !!!
Oh BTW, somehow he manages to make this device very low on DSP. If I even need more than 2 or 3 of them, it barely raises the DSP meter. If you have a Luna card, you could get a great sound w/ this and the STM1632.
I always use my headphones for a rough mix, then run it all through 2 x Barbetta Sona 32's, w/ the Barbetta Stereo Sub ( factory beta ), and the Motion Sound Pro 3t. The low end is incredible. When you see the Brotha's heads bobbing to the beat unconciously while they're scamming on the trim, you know your shit's FAT.
This little gem is going to make many people happy here.
I have it on all outputs from the GSIF source now. DAS EQ's, Celmos Phaza, and now another overlooked device called Interpole as well. Interpole is an elaborate way to control Rhodes style panning live. Autopan is just too generic sounding in comparison. If Wavelore would just send me a Pedal Steel. I can only imagine the sound of the Oberheim EDP, and a MIDI controlled Rotary cabinet attached to that. Anyone remember the band Poco ?
I have it on all outputs from the GSIF source now. DAS EQ's, Celmos Phaza, and now another overlooked device called Interpole as well. Interpole is an elaborate way to control Rhodes style panning live. Autopan is just too generic sounding in comparison. If Wavelore would just send me a Pedal Steel. I can only imagine the sound of the Oberheim EDP, and a MIDI controlled Rotary cabinet attached to that. Anyone remember the band Poco ?
where do i try this?
i can't find the fat thing, is in the black box, or is it in black box 2
-
FrancisHarmany
- Posts: 1078
- Joined: Sun Jun 02, 2002 4:00 pm
- Location: Haarmania
Here's a jpeg of the FATCS4 dev.
I was on a quest for more FAT BASTARD's, and Mehdi was happy to oblige.
The little filter attached gives 3 choices of LP,BP, and HP, and is also of high quality.
The inserts are quite useful as well. I use several different effects, but this is my current acoustic sample enhancer instance attached to GSIF outputs I & II, before going to the mixer. The FATCS4, and DAS DynaPara EQ make my Upright Steinway, Clinton, and Yamaha, Steinberg Grand Pianos shockingly beautiful.
Don't know what Medhi has planned for the mixers, but if you get these for free, or as an upgrade for current BBII owners, you will be recieving some extremely important tools.
Personally, I would sell these. But the choice is not mine.
One important note to add also, the presets change, as well as the devices attached to their inserts, another great tool for live players.
StrengthAnd Honor,
I was on a quest for more FAT BASTARD's, and Mehdi was happy to oblige.
The little filter attached gives 3 choices of LP,BP, and HP, and is also of high quality.
The inserts are quite useful as well. I use several different effects, but this is my current acoustic sample enhancer instance attached to GSIF outputs I & II, before going to the mixer. The FATCS4, and DAS DynaPara EQ make my Upright Steinway, Clinton, and Yamaha, Steinberg Grand Pianos shockingly beautiful.
Don't know what Medhi has planned for the mixers, but if you get these for free, or as an upgrade for current BBII owners, you will be recieving some extremely important tools.
Personally, I would sell these. But the choice is not mine.
One important note to add also, the presets change, as well as the devices attached to their inserts, another great tool for live players.
StrengthAnd Honor,
There is a demo of the FAT CS4 now. sales in a few days. between 40 and 60 € for the whole family (FAT CS4, FAT CM4 (mono) and FAT-M and FAT-S). Not on sale right now (very very soon). Mixers are not part of this first FAT "pack", and will follow shortly (they will be sold seperately and/or bundled for those who want).
I hope you like it .
direct link : Click here
I hope you like it .
direct link : Click here
-
FrancisHarmany
- Posts: 1078
- Joined: Sun Jun 02, 2002 4:00 pm
- Location: Haarmania
thankx spacef
the fat makes a difference in the mix, i will get one as soon as you are ready
I know this is not a conventional way of mixing, but I like putting FAT-S into an AUX Buss, and using it as a boost w/o having to resort to EQ gain, or faders, as they are set, and this fine tunes everything after the fact.
I would really like to have the FAT CS4 as an insert, and be able to utilise it's filter, and insert rack as well. It does install there, but the output is unaffected.
But FAT-S is a great way to use the AUX Buss 4 me.
I would really like to have the FAT CS4 as an insert, and be able to utilise it's filter, and insert rack as well. It does install there, but the output is unaffected.
But FAT-S is a great way to use the AUX Buss 4 me.
-
FrancisHarmany
- Posts: 1078
- Joined: Sun Jun 02, 2002 4:00 pm
- Location: Haarmania
Sounds like its worth a try!!! I think I will try:scope4live wrote:I know this is not a conventional way of mixing, but I like putting FAT-S into an AUX Buss, and using it as a boost w/o having to resort to EQ gain, or faders, as they are set, and this fine tunes everything after the fact.
I would really like to have the FAT CS4 as an insert, and be able to utilise it's filter, and insert rack as well. It does install there, but the output is unaffected.
But FAT-S is a great way to use the AUX Buss 4 me.
ASIO -> FAT CS4 -> MIXER -> BUS -> VP8 -> Tube Warmer!
Maybe on the end of the chain Optimaster -> FAT CS4 also.... However I think somewhere it was writen that we shouldnt chain 2 FAT CS4 devices..... we'll see how it sounds.
Either way my sound is going to be much better!!! Which means I am sooner content with the stuff I make. which probably means better music because I wont continue changing everything
hello !
Thanks for the comments.
) , but there is no rule. In fact, it can be done in some occasion (low sound sources). But I personally think that the drive becomes a bit dirty, or there is a pumping compression effect that becomes obvious, and i am not sure it is always great.
Let's say that in general 1 FAT device is enough (and "x2" on sources with low volume is fine), myself didn't really need to use more at once and more is to be tested by you: may be it can make nice effects too in some occasions.
Myself, I always have a FAT on the individual sound sources or groups, and another one on the mixer's master output, from the start of the mix, to the final sampling of a stereo master, just like i would do with multiband compressors (i like to use the FAT each time i would use a multiband compressor).
I am curently making a mix in FP8 , with a lot of FAT-S and I am testing some stuffs with psyQ and eqs on voices, guitars and so on. I'd really like to make a video of it and let you hear the change and how all that work together, for the better. It iwll certainly be done later on (when the track is finished).
Example of a mix:
---> asio master (no voice)---> fat--> mixer
--> asio voice group (L2 slightly if necessary - on the whole group) to pre-compress a bit)---> fat cs4--> psyQ--> reverb
---> guitars (guitar effects such as amp sims etc)--> guitar asio groups--> FAT--> slapback delay--> mixer
--> synths: in general, i like to have 1 FAT per synth. but if you run out of dsp or want to try something cool, you can do something like: synth group --> SSB phaser (scope4live massive enhancer - optional)--> FAT ! this works fine on multiple sequenced bass lines.
Having the effect before the FAT is strange considering what we said before, but in fact i tried that yesterday on an expander with a lot of the expander's own effects, and FAT on the stereo output of the expander. It can be enough on some synth lines to save dsp.
--> and on the mixer's master: FAT--> Eq (if needed)--> master volume.
you decide if a multiband compressor is still necessary (put it after the master).
normally, you shouldn't need an Eq after the last FAT. putting the Eqs after the FAT makes a very sweet grain on the eq, especially i like what it does on the mid/highs, i think it works better than having an eq before the FAT...
--> guitar (bis): if you use CW amps or scope guitar effects, then i still have to test what is best. Usually, you would have Guitar input--> amp/drive--> FAT : FAT--> amp should be good too, i still have to test later on. it depends on many things here: a circuit like this:
FAT--> guitar amps/drive--> FAt is perfectly acceptable: the modifications of dynamics induced but amp/drive change the sound enough to have the two FAT act on 2 different sound source (the sound before and after the amp/drive cannot be said to be the same sound source, so in this scenario, you can "chain" the 2 FATs, as there is something in between that change the sound dynamic).
Just ideas....
Thanks a lot for your patience
See you
Mehdi
Thanks for the comments.
Well, it is only the designer of the device who says that (you shouldn't chain 2 FAT devices
) , but there is no rule. In fact, it can be done in some occasion (low sound sources). But I personally think that the drive becomes a bit dirty, or there is a pumping compression effect that becomes obvious, and i am not sure it is always great. Let's say that in general 1 FAT device is enough (and "x2" on sources with low volume is fine), myself didn't really need to use more at once and more is to be tested by you: may be it can make nice effects too in some occasions.
Myself, I always have a FAT on the individual sound sources or groups, and another one on the mixer's master output, from the start of the mix, to the final sampling of a stereo master, just like i would do with multiband compressors (i like to use the FAT each time i would use a multiband compressor).
I am curently making a mix in FP8 , with a lot of FAT-S and I am testing some stuffs with psyQ and eqs on voices, guitars and so on. I'd really like to make a video of it and let you hear the change and how all that work together, for the better. It iwll certainly be done later on (when the track is finished).
Example of a mix:
---> asio master (no voice)---> fat--> mixer
--> asio voice group (L2 slightly if necessary - on the whole group) to pre-compress a bit)---> fat cs4--> psyQ--> reverb
---> guitars (guitar effects such as amp sims etc)--> guitar asio groups--> FAT--> slapback delay--> mixer
--> synths: in general, i like to have 1 FAT per synth. but if you run out of dsp or want to try something cool, you can do something like: synth group --> SSB phaser (scope4live massive enhancer - optional)--> FAT ! this works fine on multiple sequenced bass lines.
Having the effect before the FAT is strange considering what we said before, but in fact i tried that yesterday on an expander with a lot of the expander's own effects, and FAT on the stereo output of the expander. It can be enough on some synth lines to save dsp.
--> and on the mixer's master: FAT--> Eq (if needed)--> master volume.
you decide if a multiband compressor is still necessary (put it after the master).
normally, you shouldn't need an Eq after the last FAT. putting the Eqs after the FAT makes a very sweet grain on the eq, especially i like what it does on the mid/highs, i think it works better than having an eq before the FAT...
--> guitar (bis): if you use CW amps or scope guitar effects, then i still have to test what is best. Usually, you would have Guitar input--> amp/drive--> FAT : FAT--> amp should be good too, i still have to test later on. it depends on many things here: a circuit like this:
FAT--> guitar amps/drive--> FAt is perfectly acceptable: the modifications of dynamics induced but amp/drive change the sound enough to have the two FAT act on 2 different sound source (the sound before and after the amp/drive cannot be said to be the same sound source, so in this scenario, you can "chain" the 2 FATs, as there is something in between that change the sound dynamic).
Just ideas....
Thanks a lot for your patience
See you
Mehdi
Mehdi, My Brotha' From Another Motha',
I was surprised to find out that FAT CS4 itself wasn't the insert effect. FAT-S works marvelously, but I was excited about running 1 of these on each AUX, and using different amounts to have let's say, one AUX with 50% setting, another for a 100 % setting, then a 2x setting @ 50%, and another @ 100%. But the real beauty of that scenario was to have the inserts as well, making all AUX's seperate FAT ( BASTARD ) CS4 shells. But I have had a blast w/ FAT-S in an Aux, and adjusting it on each channel. I just crank it up all the way 2x / 100%, and trim it on each channel. For example, each channels AUX knob acts like the CS4's knob when in the 2x setting. At least that's what my ancient ears have noticed.
This works better for me than running 13 seperate instances as far as DSP's are concerned, and I like the way I can add small amounts per channel and hear the difference.
Running just one of these in an Auxillery can add so much to a mix, with no noticable DSP hit, so surely loading many the way I had 13 of them running was, and having inserts to use is also a great way to go.
BTW Mehdi, how do I download the FP8? I am feverish. It looks like a smaller version of the FB5, which is a superb synth and sampler mixer !
I was surprised to find out that FAT CS4 itself wasn't the insert effect. FAT-S works marvelously, but I was excited about running 1 of these on each AUX, and using different amounts to have let's say, one AUX with 50% setting, another for a 100 % setting, then a 2x setting @ 50%, and another @ 100%. But the real beauty of that scenario was to have the inserts as well, making all AUX's seperate FAT ( BASTARD ) CS4 shells. But I have had a blast w/ FAT-S in an Aux, and adjusting it on each channel. I just crank it up all the way 2x / 100%, and trim it on each channel. For example, each channels AUX knob acts like the CS4's knob when in the 2x setting. At least that's what my ancient ears have noticed.
This works better for me than running 13 seperate instances as far as DSP's are concerned, and I like the way I can add small amounts per channel and hear the difference.
Running just one of these in an Auxillery can add so much to a mix, with no noticable DSP hit, so surely loading many the way I had 13 of them running was, and having inserts to use is also a great way to go.
BTW Mehdi, how do I download the FP8? I am feverish. It looks like a smaller version of the FB5, which is a superb synth and sampler mixer !
WOW, You're Shit Is Too Good !!
I never used a wah-wah based effect on a synth before, so I thought I'd bring up a D6 type muted preset from Solaris and loaded up Wax.
Damn !! That sucker works great, and M Audio expression pedal is it's controller. It sounded so sweet I thought I'd try it on my C4T / SE-1x / Flexor III gtr. feedback patch. I am going to be fuckin' with this for weeks. It is a real ballzy synth lead patch that evolves with real analog buzziness and morphs into feedback in the Assaf FIII patch.
This is so pyshcedelic, rehersal this week is going to have another dimension added, My new guitarist does Hendrix really well, and now I can help cover those background tracks like the ones in " Love Or Confusion ", and " I Don't
Live Today ".
Gotta Go, This Has To Be Routed Into The Oberheim EDP In Reverse.
Medhi I Can't Understand Why SonicCore Does Not Have You On Their Siote !!
Unbelievably unique and incredible sounding devices,.
You Are Truly Sick My Friend,
I never used a wah-wah based effect on a synth before, so I thought I'd bring up a D6 type muted preset from Solaris and loaded up Wax.
Damn !! That sucker works great, and M Audio expression pedal is it's controller. It sounded so sweet I thought I'd try it on my C4T / SE-1x / Flexor III gtr. feedback patch. I am going to be fuckin' with this for weeks. It is a real ballzy synth lead patch that evolves with real analog buzziness and morphs into feedback in the Assaf FIII patch.
This is so pyshcedelic, rehersal this week is going to have another dimension added, My new guitarist does Hendrix really well, and now I can help cover those background tracks like the ones in " Love Or Confusion ", and " I Don't
Live Today ".
Gotta Go, This Has To Be Routed Into The Oberheim EDP In Reverse.
Medhi I Can't Understand Why SonicCore Does Not Have You On Their Siote !!
Unbelievably unique and incredible sounding devices,.
You Are Truly Sick My Friend,
Hi Jimmy, thanks a lot for the tips: using fat on the AUX sounds great, I have to test that !
About SC, now the delays in the release are on my part: i got excited, and made a 16 channels mixer with linkable stereo features (controller assignment being hardware integrable and switch-scope-off proof), [require 1280*1024 screen res] and few derivatives are planned too . They want a demo of everything too (grumph!...)..
September is not far though ...
Thanks for the aux tip !
ceeyal8r
Mehdi
About SC, now the delays in the release are on my part: i got excited, and made a 16 channels mixer with linkable stereo features (controller assignment being hardware integrable and switch-scope-off proof), [require 1280*1024 screen res] and few derivatives are planned too . They want a demo of everything too (grumph!...)..
September is not far though ...
Thanks for the aux tip !
ceeyal8r
Mehdi