![u he diva oversampling u he diva oversampling](http://www.arsov.net/SoundBytes/Images/2017-05/ctd-step.jpg)
This is an LFO based volume ducker that gives you robust, fine-tuned, and easy-to-use control when "side-chaining" versus traditional compressor-based side-chain. I find this to be an absolute beast at precise and deliberate enhancement of "in-the-box" digital sound design. It allows you to saturate up to 5 separate freq bands with parametric EQ style controls, as well as 10 different saturation algorithms to choose from on each band independently.
#U he diva oversampling full#
Trackspacer automates frequency ducking, giving the vocals the space it needs, but retaining the full rich sound when the vocals aren't there. If I scoop out space from the synth for the vocals with an EQ, it sounds great when both are playing, but then the synth feels hollow when the vocals drop out. When the synth plays by itself, it sounds rich and full, but then things get crowded when the vocals come in and they fight one another, muddying up the sound. A good example would be lead vocals and harmonizing synth part. It's a frequency-based side chain! I find this incredibly handy when you have two sounds partly occupying the same space on the freq spectrum. Pan Pot does all the hard work for use and is so insanely easy to adjust and fine-tune the effect on your sound. When I was first reading up on psychoacoustics and spectral panning I started setting it up manually in my DAW, which, quite frankly, is a pain in the butt, especially when you have to revisit it and tweak it. Working with 3D SFX I never had much use for spectral panning on the asset creation side, but I find it is an absolutely essential technique for modern EDM. I also like how easy and straightforward they are to use, as I find if I need to get super complex with a comp, then I most likely just need to redesign the sound itself. The UA 1176 does a good job of warming up the sound without coloring it too much. I like these compressors because I find when I need to compress something, the source sound tends to have some unwanted digital harshness and bite. Not only does it muddy up the sound on the "Analog" setting, in my opinion, I find it also closes down the width of the sound passing through it.
![u he diva oversampling u he diva oversampling](https://img.yumpu.com/27412136/1/184x260/guida-utente-diva-u-he.jpg)
![u he diva oversampling u he diva oversampling](https://www.attackmagazine.com/wp-content/uploads/2019/12/image-2.png)
However, it is unfortunate that these EQs default to the "Analog" setting, which I find greatly colors the sound in a very destructive way in terms of modern EDM needs. I also find the UI/UX to be very pleasant to use. I always want my main EQs to be as transparent as possible and I find these EQs on the "Digital" setting give me the best result. This I have brought over from my sound design career. I have started to settle into a groove of what I consider my "workhorse" plugins, but am always curious what other "game-changer" plugins/processes are out there that I might not know about yet. It has been really cool reading up on modern music production techniques and how similar yet different the process is compared to SFX creation for media.
#U he diva oversampling free#
I've spent the last 6 months of my free time getting more serious (but still fun!) about my music production.
#U he diva oversampling professional#
I've been a professional sound designer for the last decade and have been making music my whole life, but only as a fun hobby until recently. I would love to hear about your go-to plugins for production and why you like them.