- #Joey sturgis gain reduction free install#
- #Joey sturgis gain reduction free registration#
- #Joey sturgis gain reduction free series#
In addition to the input gain stage, mix knob, threshold, and output you are given a complete side-chain section, look-ahead, an additional gain trim knob, and a few special switches and buttons. The rest of the limiting stage is taken care of by Mr Sturgis’ own custom attack and release settings, but if you would like access to more under the hood, the advanced version may be more suited for you.įinality Advanced takes the exact same features as Lite and adds an onslaught of controls. Other than those two buttons, you have a threshold, meter style switch, and output gain knob. On the top right is a mix knob to control just how much limiting you would like in a track of bus. On the top left is an input knob which allows for driving the input signal into the gain reduction stage for more aggressive limiting.
#Joey sturgis gain reduction free install#
Install is a breeze and the user manual is located in the application folder for easy access.įinality Lite is somewhat similar in look and function to an LA2A, except with a few more added features.
#Joey sturgis gain reduction free registration#
This plugin is available in VST2/3, AAX, and AU formats and as always with JST products, is DRM free (he trusts you with the software so don’t screw it up) meaning you do not have to go through the whole dongle, registration song and dance. Actually we got a little more than we wanted in a whole new algorithm complete with more features and versatility.įinality comes in two versions- the Lite version which features pretty much the same controls as the limiter in the Toneforge Menace and an advanced version with more control over the experience.
#Joey sturgis gain reduction free series#
Everything Recording is pleased to say we got half of our wish (we’re still hoping for the EQ section as well) with the Finality Series Limiter. Most stuff can be fixed, except phase issues/comb filtering (when the room becomes part of the direct signal, so you can't edit out a reverb tail) - it's like chopping off the head of a monster and new offending frequencies will keep appearing - and distortion also can't be dialed back, so those are the best to watch out for when recording yourself.A while back, Everything Recording reviewed Joey Sturgis Tone: Toneforge Menace (Review HERE) and we mentioned how we would love to see the channel strip section of the guitar amp modeling plugin able to be used standalone. Multiband compression can be useful when a voice's timbre changes (most extremely when "yelling" and speaking more softly), I've been using a ton of dynamic EQ too to tame infrequent offending resonances, and there's nifty stuff to be done when you duplicate the channel, compress one very hard, leave the other dynamic, combine both to where the loud VO is louder in the loud parts and the flat VO is louder during the soft parts, and do separate EQ on the softer or louder parts. Fresh Air from Slate (free) works nicely for adding some sparkle (as does Revival). Gotta rethink your moves and kill your darlings. Nothing will show more clearly how destructive our processing actually is than voice: Often it's more desirable to have a voice sound somewhat shit rather than over processed shit :) Bypass is your biggest friend, often the natural voice sounds inexplicably better, cleaner, calmer than what you and all your efforts managed to do. It can be nice to leave it really dynamic, if there's no huge issues on that front. I've found that compression is easily overused on a voice. Other than that transparency is usually what I aim for Using multiple compressors at low ratios and trying to minimize the EQ bands. We use Izotope RX a lot for cleanup (noise, mouth clicks, de-essing - love the RX de-esser) and for unmixed voices I often use match EQ to immediately get it in the ballpark. There are almost no general rules to follow that always lead to success as a recording often needs the exact opposite approach. Good stuff! At work I've mixed hundreds of voice overs and I still find them one of the more challenging sound sources to get right, especially cause we often don't control where and how they were recorded.
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