I was skeptical to continue watching, thinking I don't need, but i might learn something... the dr. dre beats headphones I'm using presented a comfortable ambience in my easy chair during my morning coffee... watching you adjust and listening quietly, intently getting that certain appreciation for the pumping sound near 16:38. Great demo! #GitXome!
Of note, the Bitwig Hardware device enables interfacing with any hardware. Like for instance the Warm rackmount compressors or, the cheaper VLA2 stereo rackmount tube compressor I have. If the audio card has the free I/O lines, there you go. After all, Bitwig allows for manually taking note of the settings. :) This is useful for final mixes, mastering.
I love the Tegeler stuff, saving for the Creme RC myself. Still have to decide between the Bus+ and the Creme. I like the Drawmer 1978 on my drumbus. Thanks for the nice demo, sounds killer 👍🏼
thanks for vid i personally never get better songs with better tools. for me it actually makes no difference at all. i dont own HW, but i have nice expensive plugs, like acustica stuff - those sound bit different when u compare them, but finished mix is never noticably better. it seems that basic bitwig tools are good enough for anything, and only limiting factor is actually my talent and level of inspiration
And this can be extended to almost all VSTs, equipment, etc. People too often forget this is a consumers' world and are getting into the cogs, wanting this or that new thing that will give them a 'pro' touch. It's a bit like 'all dressed up but nowhere to go'.
@@maxandersmusic Definitely. After too many years of trying to convince myself that it meant more, at this point I have to admit that, almost without exception, the only reason to have a hardware effect, an analog synth, etc. is simply because a part of you needs to know that some part of a song was produced by actual analog circuitry, because that makes you happy somehow. "I used the Prophet on this." "I ran that through this crazy compressor." Just pure personal satisfaction of something more tangible than software.
I mean its a goegeous sounding compressor, but seeing how I'm only dealing with softsynths and vocals in a semi-ok trrated room, i could get nearly the same sound for 14.99 a month from Plugin Alliance. But yeah, i mean this sounds gorgeous, and owning hardware can be very inspiring. $3000 isnt a whole lot for what you're getting
Hardware has just something to it, and the the total recall function on the Schwerkraft is just out of this world. I also still own a LA-2A which has a lot less features but sounds amazing. However I also own the UAD plugin version, and if I am really honest, I can't really tell which one sounds better. They do sound slightly different, but this could be due to the fact that the plugin was modeled after a different or older unit. That is until I "abuse" it and amplify the input signal until the tubes go into overdrive. Then the hardware sounds just unbeatable imo. But then, how many sounds really need saturation? Also, 12 years ago when acquired the unit plugins weren't really there, but now days it's really hard to justify buying such expensive devices. Synths are a slightly different matter. The haptic feeling and having direct access to a lot of parameters, i.e. having a lot of knobs often speeds up the workflow. And as I like to say "Das Auge musiziert mit" if you know what I mean :)
As an aside, I really like your 2-part Arpeggiator tutorials and I refer to them from time to time. So much so that I'll be doing a 'remix' of them with the actual music volume in there turned down by a lot so that they're easier to listen, much less stark contrast in volumes :) Excellent tutorials for the Arpeggiator.
@@nominou6 Thanks a lot mate and referring to them :). Just be aware that the videos are copyright protected and may not be re-upload them to another channel. But you can, of course, make your own video explaining the same thing :)
@@theRumbleChannel It's really about my own ears. I thought of sharing the results although I'd have to chop some minutes off since I have a limit of 15 minutes per video, for not giving a phone number to youtube. You make it 'sound' (no pun intended) as a challenge though :) I have a number of copyrighted videos shared. It's 100% OK in many cases. It depends on the copyright clause definition. Some are 100% OK, some are restricted in some countries, and some are squarely filtered off by youtube after uploading. If a video passes the youtube copyright test for public viewing then there's not much that can be done unless there's a company behind it that revises the clause and exchanges it for a stricter one after the fact. I guess this would be called a 'Clause Swap' :) EDIT : I like to document when possible so here goes with some examples. 1) "die ärzte - TRUE ROMANCE (Offizielles Video)" Copyrighted. Blocked by youtube immediately after uploading. Technically not shareable. For that matter, I once got a strike for such a fully copyright video that youtube allowed to be shared, just to apply a strike afterwards, removing some functionality and asking me to follow a course on copyrights and/or give them the information they want (phone number) for me to regain lost youtube functionality. 2) "Idir - Isefra" "There are some visibility restrictions on your video. However, your channel isn't affected. Copyright owners SME On behalf of: Sony Music Media. Video cannot be seen or monetized. Blocked in Russia." 3) "Octobre - Survivance" "Copyright. The Content ID claim on your video doesn't affect your channel. " 4) "Sløborn (Germany/Denmark)" excerpts from TV series (Includes a Beyoncé song) "Copyright-protected content found. People in some countries can’t watch your video. " Blocked in Russia. 5) All Laibach videos are under copyright but free to share. Same with Serj Tankian (System of a Down), Peter Hammill/Van der Graaf Generator and as it is said in the business, 'many more'.
Aside from the physicality of the device, do you hear much of a noticeable or real difference between the hardware compressor vs a decent software emulation compressor?
Really nice device! And would be on my list, IF I had the money too;) In the meantime Presswerk and TDR Kotelnikov is my go to. Thanks for showing 🚀 Could you please tell me what the program 11 is called? The Webpage tells here confusing things and if it is VCA then the compressor has really every important compressor model on board. 🌻
Not using the auto latency compensation? OK on the master, but on groups I´d miss it. So I use it everywhere, just for best practice. One question though: does the plugin follow changes on the hardware? I would assume yes, just double checking.
The Gimmick is actually very nice especially as it is project related with the remote very handy, But €3000 .... does it comes with tubes ? or just transistors ?
As mix engineer Michael White (Whitney Houston, David Bowie, David Byrne, James Taylor, Jimi Hendrix remixes, etc.) from whom I took mixing courses, an important usefulness of compressors today is to somewhat compensate for the lack of simultaneous human presence in the studio and squarely the lack of players on recordings. With human musicians around, playing at the same time : they look at each other, they get feedback from each other, and that reflects in the intonations of the notes they are playing. Today with synths only : these variations are absent. A compressor for each instrument adds these kinds a variations, making the tracks more 'human'. Then there's the use of compressors for mixing and mastering, which is something else.
@@GeorgeLocke I'm not so sure about your question. A compressor can be put on each instrument track. VST compressors that is. There are no problems in doing that and this is why I did not really get your question. There can even be two compressors on a single track, each one having its own purpose. Or perhaps, if one has many rackmount units (maybe less expensive like the Warm compressors or the dirt cheap VLA 2 tube compressor, a Bitwig Hardware device on each track, but that's a big maybe. Not sure if it would play well regarding latencies, never tried it.
@@nominou6 my question is, how does adding compression to each track separately make up for the fact that you're not recording live musicians interacting with each other?
@@GeorgeLocke By adding variable depth to notes when properly tuned. It's at best uncertain to post links on youtube, so please see the technical videos done by mix engineer Michael White (Whitney Houston, David Bowie, Mick Jagger, David Byrne, Jimi Hendrix remixes etc...) on the subject of tuning compressors. When people play together they look at each other and interact while playing. This reflects in the notes they play. A compressor when properly tuned - and not used as a mixing tool - will render notes differently under certain circumstances. Of course. if the source is mechanical, robotic, Kraftwerk-like, then there are no 'miracles'. Sound is in 3D. Left/right is panning. Up/down is volume, and depth is compression.
The amount of salt in this thread lol. Some people like expensive toys, it's ok if you don't or can't afford it or don't understand. Why do people get so bent about this?
I’m so sorry, but I don’t hear €3000 worth of difference.. sure, there’s a nice little bump in quality, but not €3000 worth. That money could be so used for something better.
In the end of the day it comes down to your flavour: if a $3000 compressor makes you do great music it is a necessity. Science does not define necessity in art.
I was skeptical to continue watching, thinking I don't need, but i might learn something... the dr. dre beats headphones I'm using presented a comfortable ambience in my easy chair during my morning coffee... watching you adjust and listening quietly, intently getting that certain appreciation for the pumping sound near 16:38. Great demo! #GitXome!
Of note, the Bitwig Hardware device enables interfacing with any hardware. Like for instance the Warm rackmount compressors or, the cheaper VLA2 stereo rackmount tube compressor I have. If the audio card has the free I/O lines, there you go.
After all, Bitwig allows for manually taking note of the settings. :)
This is useful for final mixes, mastering.
I love the Tegeler stuff, saving for the Creme RC myself. Still have to decide between the Bus+ and the Creme. I like the Drawmer 1978 on my drumbus. Thanks for the nice demo, sounds killer 👍🏼
thanks for vid
i personally never get better songs with better tools. for me it actually makes no difference at all.
i dont own HW, but i have nice expensive plugs, like acustica stuff - those sound bit different when u compare them, but finished mix is never noticably better.
it seems that basic bitwig tools are good enough for anything, and only limiting factor is actually my talent and level of inspiration
I’m not sure if this is university true, but I do think it’s a very good general principal.
Yes, the fact is that no average listener can tell the difference between a $3,000 compressor and a free one.
And this can be extended to almost all VSTs, equipment, etc.
People too often forget this is a consumers' world and are getting into the cogs, wanting this or that new thing that will give them a 'pro' touch.
It's a bit like 'all dressed up but nowhere to go'.
@@maxandersmusic Definitely. After too many years of trying to convince myself that it meant more, at this point I have to admit that, almost without exception, the only reason to have a hardware effect, an analog synth, etc. is simply because a part of you needs to know that some part of a song was produced by actual analog circuitry, because that makes you happy somehow. "I used the Prophet on this." "I ran that through this crazy compressor." Just pure personal satisfaction of something more tangible than software.
I mean its a goegeous sounding compressor, but seeing how I'm only dealing with softsynths and vocals in a semi-ok trrated room, i could get nearly the same sound for 14.99 a month from Plugin Alliance.
But yeah, i mean this sounds gorgeous, and owning hardware can be very inspiring. $3000 isnt a whole lot for what you're getting
Thanks!😀
Roger! ❤️
Hardware has just something to it, and the the total recall function on the Schwerkraft is just out of this world. I also still own a LA-2A which has a lot less features but sounds amazing. However I also own the UAD plugin version, and if I am really honest, I can't really tell which one sounds better. They do sound slightly different, but this could be due to the fact that the plugin was modeled after a different or older unit. That is until I "abuse" it and amplify the input signal until the tubes go into overdrive. Then the hardware sounds just unbeatable imo. But then, how many sounds really need saturation? Also, 12 years ago when acquired the unit plugins weren't really there, but now days it's really hard to justify buying such expensive devices. Synths are a slightly different matter. The haptic feeling and having direct access to a lot of parameters, i.e. having a lot of knobs often speeds up the workflow. And as I like to say "Das Auge musiziert mit" if you know what I mean :)
As an aside, I really like your 2-part Arpeggiator tutorials and I refer to them from time to time. So much so that I'll be doing a 'remix' of them with the actual music volume in there turned down by a lot so that they're easier to listen, much less stark contrast in volumes :)
Excellent tutorials for the Arpeggiator.
@@nominou6 Thanks a lot mate and referring to them :). Just be aware that the videos are copyright protected and may not be re-upload them to another channel.
But you can, of course, make your own video explaining the same thing :)
@@theRumbleChannel It's really about my own ears. I thought of sharing the results although I'd have to chop some minutes off since I have a limit of 15 minutes per video, for not giving a phone number to youtube. You make it 'sound' (no pun intended) as a challenge though :)
I have a number of copyrighted videos shared. It's 100% OK in many cases. It depends on the copyright clause definition. Some are 100% OK, some are restricted in some countries, and some are squarely filtered off by youtube after uploading. If a video passes the youtube copyright test for public viewing then there's not much that can be done unless there's a company behind it that revises the clause and exchanges it for a stricter one after the fact. I guess this would be called a 'Clause Swap' :)
EDIT : I like to document when possible so here goes with some examples.
1) "die ärzte - TRUE ROMANCE (Offizielles Video)"
Copyrighted. Blocked by youtube immediately after uploading. Technically not shareable.
For that matter, I once got a strike for such a fully copyright video that youtube allowed to be shared, just to apply a strike afterwards, removing some functionality and asking me to follow a course on copyrights and/or give them the information they want (phone number) for me to regain lost youtube functionality.
2) "Idir - Isefra"
"There are some visibility restrictions on your video. However, your channel isn't affected.
Copyright owners SME On behalf of: Sony Music Media. Video cannot be seen or monetized. Blocked in Russia."
3) "Octobre - Survivance"
"Copyright. The Content ID claim on your video doesn't affect your channel. "
4) "Sløborn (Germany/Denmark)" excerpts from TV series (Includes a Beyoncé song)
"Copyright-protected content found. People in some countries can’t watch your video. " Blocked in Russia.
5) All Laibach videos are under copyright but free to share. Same with Serj Tankian (System of a Down), Peter Hammill/Van der Graaf Generator and as it is said in the business, 'many more'.
Aside from the physicality of the device, do you hear much of a noticeable or real difference between the hardware compressor vs a decent software emulation compressor?
That would have been interesting to compare it with Bitwig stock device like "Dynamics" what is the actual difference ?
Analog?
The next question would be: what is analog? :-)
Huge difference. Once you hear it you'll never unhear it.
My bedroom producer hardware compressor is an Intellijel Jellysquasher
anolog compressing + soft cliping the soundcard input = great sound on my Genelecs, even with youtube in the middle
Even if I don’t keep the comp, I probably continue clipping this way for some sounds 😂
Really nice device! And would be on my list, IF I had the money too;) In the meantime Presswerk and TDR Kotelnikov is my go to. Thanks for showing 🚀 Could you please tell me what the program 11 is called? The Webpage tells here confusing things and if it is VCA then the compressor has really every important compressor model on board. 🌻
I think i will get presswerk too at some point! Program 11 is DeEsser for me!
Not using the auto latency compensation? OK on the master, but on groups I´d miss it. So I use it everywhere, just for best practice. One question though: does the plugin follow changes on the hardware? I would assume yes, just double checking.
Zucker zaubert !
The Gimmick is actually very nice especially as it is project related with the remote very handy, But €3000 .... does it comes with tubes ? or just transistors ?
"The signal goes through a total of 3 transformers and 4 triode tubes per channel"
@@PolarityMusicfor that prices tubes should be included , makes it more correct, as these vari from 2000 till 7000 € ....
the true question is how do you get 3000€??????
Work hard and make sacrifices over time and you can acquire anythinf
Start an online business and get them residuals, and invest your money in various ways
To be honest, to my ears the track sounded better in bypass mode.
As mix engineer Michael White (Whitney Houston, David Bowie, David Byrne, James Taylor, Jimi Hendrix remixes, etc.) from whom I took mixing courses, an important usefulness of compressors today is to somewhat compensate for the lack of simultaneous human presence in the studio and squarely the lack of players on recordings.
With human musicians around, playing at the same time : they look at each other, they get feedback from each other, and that reflects in the intonations of the notes they are playing.
Today with synths only : these variations are absent. A compressor for each instrument adds these kinds a variations, making the tracks more 'human'.
Then there's the use of compressors for mixing and mastering, which is something else.
How does compressing reach track separately help? Maybe I'm not understanding, but it sounds like you want the voices to interact?
@@GeorgeLocke I'm not so sure about your question. A compressor can be put on each instrument track. VST compressors that is. There are no problems in doing that and this is why I did not really get your question. There can even be two compressors on a single track, each one having its own purpose.
Or perhaps, if one has many rackmount units (maybe less expensive like the Warm compressors or the dirt cheap VLA 2 tube compressor, a Bitwig Hardware device on each track, but that's a big maybe. Not sure if it would play well regarding latencies, never tried it.
@@nominou6 my question is, how does adding compression to each track separately make up for the fact that you're not recording live musicians interacting with each other?
@@GeorgeLocke By adding variable depth to notes when properly tuned.
It's at best uncertain to post links on youtube, so please see the technical videos done by mix engineer Michael White (Whitney Houston, David Bowie, Mick Jagger, David Byrne, Jimi Hendrix remixes etc...) on the subject of tuning compressors.
When people play together they look at each other and interact while playing. This reflects in the notes they play. A compressor when properly tuned - and not used as a mixing tool - will render notes differently under certain circumstances. Of course. if the source is mechanical, robotic, Kraftwerk-like, then there are no 'miracles'.
Sound is in 3D. Left/right is panning. Up/down is volume, and depth is compression.
The amount of salt in this thread lol. Some people like expensive toys, it's ok if you don't or can't afford it or don't understand. Why do people get so bent about this?
Did it just lose 500€ of value in just a few minutes? Damn, that's a hard market...
Don't say: I can't afford it... ---> Ask: How can I afford it?
Tegler and Elysia are on my “If I win a million” list. Much more interesting than classic gear from yesteryears.
Why?
Ist da auch Lambada drin?
th-cam.com/video/sVHaPJNFBiA/w-d-xo.htmlsi=z7qVjEI_MtGcEPqh&t=25
I’m so sorry, but I don’t hear €3000 worth of difference.. sure, there’s a nice little bump in quality, but not €3000 worth. That money could be so used for something better.
3000€ Compressor because u can ?
I was not that impressed, to B honest. I stick 2 my Tube-Tech CL 1B.
analog compressor is completely unnecessary in 2024
unless you want to throw away $3,000?
In the end of the day it comes down to your flavour: if a $3000 compressor makes you do great music it is a necessity. Science does not define necessity in art.