NLS Non-Linear Summer is an analog summing utility that emulates three legendary mixing consoles: the SSL 4000G, Neve 5116, and EMI TG12345. Waves attempted to emulate the non-linear behavior of each channel and amp, porting some of the analog magic into the digital audio domain.
NLS Non-Linear Summer includes the NLS Channel plugin and the NLS Buss. The two interfaces are pretty similar, consisting of a console selector, a Drive knob, VCA Group controls, and switches for Noise, Bypass, and Mic control parameters.
To get a more aggressive sound from NLS Non-Linear Summer, boost the input gain for added saturation. The sound can get quite distorted if you push the plugin harder, which works very well for certain music styles.
macs work great for many reasons, and the price you pay is a less open hardware and software system and some consequences like the one you explained.but there are very good reasons to use macs, especially for audio production, and these reasons are enough for me and many other people to enjoy working on a mac.not that it cant be done on a windows pc, but there you have other problems.
HCompTrueverbRverbLiltubeSuper tapR Vox CompR bassOne knob wetterDbx compSibilanceLofi spaceOne knob PhatterOne knob LouderManny Maroquin Tone shaperIRL Convolution reverbMaxxvolumeStudio Rack ( now supports 3rd party VST)Waves NLS
Alex, thank you for writing about your experiences. I uninstalled NSL and all the Waves stuff after reading. No need for more predatory companies whose files are impossible to get rid of (Adobe was the last one).
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Although they are so beloved by engineers in the know, the original hardware can be hard to find, and incredibly expensive. Their popularity in the studio has come back around in recent years as a number of companies from Apogee to UAD to Waves to Softube to IK multimedia have created their own software versions.
One great free option is the PTEq-X from Ignite Amps, which offers three different variations of the Pultec design, it includes some additional EQ points and tube emulations for additional flexibility over the originals. It works in VST, VST3 and AU formats for Mac and Windows.
This type of EQ works by analyzing the intensity for each frequency in the incoming signal to determine how much EQ to apply, responding dynamically based on source material. For instance, you can cut a given frequency, but only when it becomes to overbearing, or apply a boost, but only when the target sound starts to disappear.
The free version is quite powerful and can be used indefinitely. It works on Mac and Windows and is available in AAX and AU formats. There is also a paid version available that offers an even more robust feature set.
It features an optional tube circuit model, as well as vintage and modern modes, and can also be used as a preamp simulator, to emulate the feel of plugging direct into a real board. Download it here.
Each one can be used in a L/R, mid, or side configuration making it useful for mastering just as much as mixing. There is also a very handy saturation slider, sending the effect from totally clean into lovely analog-style distortion.
Unfortunately, the website for AudioTeknikk plugins appears to now be defunct. Apparently, it can be hard to keep the lights on when you are charging absolutely nothing for your wares. But links can still be found on other forums and websites, and the latest version may still work with your system.
There are quite a number of SSL-style bus compressor emulations on the market today, which is unsurprising as these have become a go-to bus compressor for decades for everyone from cream-of-the-crop audio professionals to modest hobbyists.
Real Fairchilds run on an insane number of vacuum tubes, and offer a significant dose of character. They are thick, chewy, and when used appropriately, can absolutely take the fatness of a track to the next level. They are a fantastic style of compressor for the digital audio era, as they easily correct some of the overly clean, sterile sounds of today by injecting some serious analog vibe.
Possibly the best freeware contemporary here is the Vladgsound Molot. Beware: Fairchild style compressors can be notoriously finicky and difficult to dial in at first, and the Molot is no different. But it offers some additional controls, but the GUI is customizable to an extent. This is a solid vari-mu compressor with an even more robust control set (including optional saturation) than most other Fairchild plug-ins have.
It features a number of controls over the amount of compression and saturation and you can drive the input just like a real tape machine, which affects how the other controls respond. It can even do some gentle limiting, making it great on everything from the stereo buss down to individual tracks. Download it here.
OK, can a free plug-in sound as good as a unit that costs thousands of dollars? No, probably not. Make no mistake, there is no substitute for the sound of the spaces that you can get with a Bricasti.
It comes with presets that bring you quality sound of a number of different spaces, while offering many critical onboard controls like EQ and modulation, so that you can manipulate the sound in any way you want in one plug-in. At this price, why not try it?
After updating to Logic 10.5 all my external plugins are not working properly: I can't see the control panels. I can only reach the parameter value in the editor mode. I've tried to re-scan all audio units, but that didn't solve the problem. Any ideas? (OS X Catalina, iMac 2019)
As far as I understand, it is the old finger pointing game. Apple changes/updates something that requires the third-party developer to update their software (plugin). They give them prior notice to have it fixed by the release date. However, that works only in a perfect world.
In the case of Logic and Plugins, the end user can run into really annoying issues. For example, the developer didn't update in time, the developer refused to update (no time, no money, no interest), the developer doesn't exist anymore.
I emailed Waves about this the other day and they said that Waves is not yet supported by the newest version of Logic Pro X 10.5, and they're working on getting them all qualified for use. Kind of a bummer considering I live on the Waves stuff right now. I think one of the only options is to redownload an older version of OS to run an older version of Logic. Other than that, we might be SOL for the time being. I just hit them up on an ETA for the fix today so I'll come back once I get word of it.
All of my Waves plugins are V11. Yet every time I launch Logic I am prompted to move to trash or click cancel for plugins it says cannot be verified. I have over 400 Waves plugins and this is a true PITA! All of my UAD and IK Multimedia plugins are fine. After years of using Logic I am considering Pro Tools because this 10.5 issue really ruins my work flow before it even starts. These problems should have been addressed before launching. Especially seeing as a beta version was in the market.
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These days, modelling technology has become really good at simulating the effects of analog circuitry. In fact, are even a handful of free saturation plugins out there that do a great job of bringing it to your DAW.
Saturn 2 is a pro-grade distortion and saturation plugin with a fantastic interface and workflow for multi-band saturation, allowing you to apply broad strokes or get very detailed and clinical with equal ease when applying warmth and distortion to the parts and frequencies of your sounds that need it while avoiding the rest.
In between that feature and the simple mix knob, you have a whole bunch of options for how, and to what degree, you process your sounds. The latest update, Saturn 2, saw the interface get a welcome refresh and improved modulation visualisation, new subtle saturation and linear phase processing for mastering, and a range of additional distortion types in the processing Style menu. Recommended!
But what makes it so good for saturation duties is the degree of control you have to sculpt the processing to your preference. Even by simply dragging around in the waveshaper window in the Trash module, you can stumble on a vast range of characters very quickly. Couple this with the algorithm menu and the ability to treat any of 4 user-defined frequency bands independently, and you have everything you need to add warmth and punch in any sound design or mixing scenario.
The straightforwardly-named Tape has become a go-to for many producers when it comes to adding that cohesion and glue that recording to tape famously provided in the mythic Olden Days of the analogue studio era. 2b1af7f3a8