I really didn’t see Steinberg re-releasing some of the very first widely used VST plug-ins Model-E and VB-1. Cubase VST was one of the biggest innovations in music production. To be able to have software instruments, effects, audio recording and a MIDI sequencer all natively running was quite amazing in the mid 1990s. The first computer I owned that was capable of running the software was a Power Computing Powercenter Pro210 Mac clone. The Pro210 had a 210MHZ processor, 16MB of RAM and a 2GB hard drive. I was able to run Model-E a Moog type clone and maybe one reverb plug-in. You can hear Model-E in my remix of for David Tarrida the “Horrormone” remix. It’s the main detuned synth. The new version of Model-E is unsupported but free. Now where is my 2012 version of Neon?
“Holy crap there’s a 64 bit version of Model E (Diva faces stiff competition)” – aMUSEd
Not so long ago computers for producing music were all seriously underpowered. I remember on my old Mac clone, a Power Computer PowerCenter Pro210 I could only open 2-3 plug-ins before the computer would click and glitch to a halt. However, today we live in an amazing time as far as music technology. I can load up my Macbook Pro all day long with plug-ins and it seems my CPU never jumps past 50%. It actually took me a few months to get used to piling on plug-ins without freezing or bouncing tracks. I realized I was wasting time bouncing everything by watching younger kids demo their Ableton and Cubase tracks on YouTube. My keen eye caught mountains of plug-ins placed frivolously over twenty plus channels. I realized I better “un-old fogey” myself and start painting with thick strokes of live effects or be left behind.
So today’s quick tip is to start a song with plenty of effects placed on assorted channels before you ever even place a sound producing synth, sample or voice anywhere. What do I mean? Well how about putting Altiverb with a Neuman Mic IR (Impulse Response) on the Master Channel? Why not also put a nice compressor there too? Now as your build your song and mix as you go building into those plug-ins. In effect it’s almost like you bought a new sounding mixer.
There’s no reason to be subtle either. Try creating a sub-mixer of 6+ channels and on the Group’s master fader and have a flanger set to 100% wet. Next place all your synths in your new flanger group and adjust the oscillators and filters toward the flanger not the other way around. The key is to start off fully loaded with effects on so everything you hear isn’t the same ole, same ole…