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Kilohearts Limiter Review
Kilohearts Limiter
The bottom right corner of all Kilohearts plugins is a resize handle for scaling the UI to any size. This allows you to get a good view of the controls whatever the screen resolution, and also comes in handy if you need big controls, e.g. When using Ring Mod as a real-time effect on a touchscreen monitor during a live set.
The 'Basic' Multipass bundle ($99) consists of Chorus, Delay, Gain, Limiter and Stereo Snapins - useful, but not much to get inventive with apart from Stereo, with which you can get some cool L/R modulations happening. The Producer Pack ($159) adds in Compressor, Distortion, Filter, Haas and Phaser.
Kilohearts Toolbox STARTER. The Kilohearts Toolbox STARTER gives you access to 6 of the most versatile snapins on top of everything in the Kilohearts Toolbox FREE. These essentials will get you very far and the bundle is a good choice if you need to customize your channel strip and be able to reuse it at any time, in any DAW.
Kilohearts Toolbox comes in several varieties: Free, Starter, Professional, and Ultimate The Kilohearts snapin eco-system is big, and it’s growing! That’s why we made it easy for you to choose the package that suits your needs. Kilohearts snapins cover a huge range of audio effects and they go great together. The unified form of language. The Kilohearts Snapin framework is the easiest, most creative, sound design workflow you have ever come across. This free bundle contains Snap Heap, a basic snapin host plugin, alongside 6 useful snapins. Check out this video for a quick peek into what Snap Heap can do.
Kilohearts Phase Plant has been out a little while now, and I’ve spent a good bit of time with it.
I rarely do reviews when I believe something has been covered thoroughly, and I think Phase Plant has been. Hopefully I can provide some level of thoroughness and maybe a bit of insight beyond what else is out there.
This review is of the Professional version.
Themes
Sound Quality
What’s in it?
Generators
Analog
Wavetable
Modulators
Phase Plant is a modular synth with a carefully designed interface and a link to the Snapins ecosystem.
Visualization
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Phase Plant is technically competent. The oscillators are clean. Sampler puts out clean content. Audio-rate modulation is (mostly) aliasing free.
The effects all sound decent. The modulators output clean signals.
What more could you want?
Modulation
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It’s pretty cool that the visualization is accurate though. That’s something that’s missing in a lot of synths.
Wavetable
Wavetable
Wavetables are the hot thing right now. Audio file that’s split into periods called “Frames” in Phase Plant, then those are used to generate the sound based on your position in the current table. Take the current audio in the current frame, and repeat that until another frame is selected.
On the surface, Wavetable is even less complex than Analog, though it comes with a number of preset wavetables for use.
The hot stuff happens when you modulate the Frame parameter and…
Allmymusic
3 0 1 5.
Wavetable Editor
Create your own Wavetables!
Phase Plant has quite the wavetable editor.
Along the top you have a view of the frames that you can use for navigation. At the bottom is the waveform of the current frame. Then you can use the following modes/tools:
Selection Mode - Select a sequence of frames, harmonics, or the waveform. Frame selection allows for application of effects and fixes.
Morph Tool - This allows you to set a range of frames and morph between them. “Keyframes” can be set which are points that delineate the automatic transitions.
Pen Tool - Allows you to draw waveforms using lines/curves for a single frame, or a selection of frames.
Pencil (Brush) Tool - Click and drag drawing of waveforms.
Wave Tool - Sine, Saw, Triangle, Square. Each has controls for Repeats, Starting Phase, Origin (which appears to be the same as phase?), Pulse Width (where applicable) and mix.
The wave tool generates a shape in the middle of the current frame selection. You can change the range of where the generated signal lies in the frame, and you can transition it to/from the existing signal in the current frame.
Direct Harmonic Tool - A pencil tool, but for editing harmonics of the current frame selection.
Analog Harmonic Tool - A filter applied to the signal’s harmonic structure. Low/High pass, Low/High Shelf, Notch, Bandpass and bell filters are available with adjustable Q and slope.
You can import your own samples, but this is understandably a more involved process than just click and go. The wavetable system needs a selection of periodic signals to work, and not all samples provide that.
You’re given a few tools to deal with the issues presented by trying to make an arbitrary sequence of bytes to a wavetable:
Keyframe mapping - Parts of the sample can be mapped to a specific range of wavetable frames. One of the more interesting things is that this does not need to be sequential. Keyframes can take signal from anywhere in the source, thereby overlapping other keyframes. The arbitrary mapping allows you to use the signal as a “source of frames” rather than just as a sample that’s been wavetablized.
Root Pitch - Given that pitch is generally defined by the frequency of a periodic signal, this is a great place to start for a wavetable mapper. Phase Plant has an automatic pitch detection that works quite well in my experience. Getting this parameter set correctly makes life much easier as you can then use the ‘lock to fundamental’ phase correction going nicely.
Phase correction - Phase Correlation, lock to fundamental (specified by root pitch), lock all. I don’t actually understand how correlate works, since it always yielded poor results in my testing, and it’s not described in the manual.
Pitch - You can pitch shift a the range between the current keyframe and the adjacent keyframes. You can get some really cool sounds with this! Judicious use of the pitch shift across the table makes for some expressive ‘nature-like’ sounds, and often some vocal-like sounds.
Mix - The current keyframe mapping can be mixed with the existing wavetable.
The net result is that making wavetables is a positive experience.
Sample
Kilohearts Limiter Review
MIDI Note
MIDI Notes come in values from 0-127. This is normalized to unipolar values between 0% to 100% or bipolar values between -100% to 100%.
This modulator could be
a lot better
. MIDI Note values often require some sort of scaling to be useful, either linear or log (since that’s how we hear notes). Often something in between is desirable. Phase Plant doesn’t have any simple way to rescale modulation, which makes MIDI Note a good bit less useful.
HOWEVER
, using MIDI Note to modulate other modulators makes things a bit nicer. This could be an entire article/video in itself, but all is not lost.
MIDI Pressure
MIDI Pressure mapping, still needs scaling.
MIDI Velocity
MIDI Velocity
Velocity to modulation. It suffers from the lack of easy scaling just like MIDI Note.
Max and Min
Min
Two Modulation inputs and at a given instant either the smallest (Min) or largest (Max) value is selected.
Useful for anything that requires limiting a signal’s bounds.
Multiply
Multiply takes two inputs, multiplies their values at a given instant.
Multiply is largely useful for scaling values. Unfortunately there’s no graph scalar (time, value). It’s a fixed value or A*B.
Effects
3-Band EQ
3-Band EQ
3 EQ bands. If you need something more precise or involved then try Slice or Carve.
Bitcrush
Quantizer (reduce bit-depth) and decimator (reduce sample rate).
The “Quantize” knob lets you control how much quantization occurs. The ability to dither is quite cool and is missing in many other quantizers.
The ADC/DAC Quality settings appear to be the steepness of filters going into and out of the decimator. Higher Q values seem to have a steeper value.
Carve EQ
Carve EQ
Chorus
Simple chorus that combines 2 or 3 versions of a signal, delayed, with the original version. The delay time can be modulated in a ‘tape-like’ fashion.
If a more complex chorus is needed then Ensemble has your back.
Comb Filter
Comb Filter
A comb filter is essentially a chorus that isn’t modulated. The original signal and a delayed version of the signal are combined.
I appreciate that the delay is expressed in terms of hz between peaks rather than how much the cloned signal is delayed. Using hz between peaks makes it much easier to reason about when utilizing modulators.
The stereo switch is super neat. The polarity (of the delayed signal) is switched on the right side. The end result is a wide sound that still collapses elegantly to mono. I’m surprised I haven’t seen or noticed this in another product before.
Compressor
It’s your typical compressor with RMS and Peak modes.
I would prefer if the threshold+meter control was not linear. Having equal distance between -10, -20, -30 and -40 is not homologous with typical production needs. I appreciate that -20 is centered, but this would be more useful if there was an auxiliary VU or RMS meter.
The sidechain facility is easy to use.
Delay
Delay
It’s a delay. You should know what this does.
The bonus here is the duck parameter, which is a dynamic mix control that applies the envelope of the input signal to the delay mix.
Disperser
An allpass filter with an interesting extra GUI.
All frequencies pass at the same gain, but you can adjust a/the delay of a given range of frequencies. The interesting “Pinch” parameter lets you adjust the shape of the affected spectral range.
Disperser is invaluable when used in the parallel effects lanes, and of course it’s your portal to impressive modulated phaser type effects.
Alone though, Disperser just makes for some really neat sounds. Allpass filters are fun in a way that’s difficult to quantify… just try it.
Distortion
Distortion
Essentially a waveshaper with 5 preset shapes. The spread control is a neat control to add per-channel bias (DC offset).
I’m not entirely sure what the dynamics control is doing. It seems like it’s taking the envelope of the input signal, and applying it to the output signal. Something like an upwards expander on the output that’s sidechained to the input.
Ensemble
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Kilohearts Limiter
Flanger
Flangers aren’t “cool”, but Phase Plant’s is.
Take a signal, clone it, delay the clone and change the delay time. Here you get even more with modulations of the modulation of the delay time of the clone. Offset and Motion controls adjust the modulation (and offset) of the delay modulation signal, and you get the typical delay/depth/rate controls.
Spread appears to change the phase of the modulation per channel and you can feedback into the delay.
Using Flanger and the simplest of generators you can create some really cool morphing sounds. I’m glad kHs gave some love to the undervalued flanger.
(note: you can modulate the modulators that modulate the modulated delay! Try an LFO on the motion control and sit back to enjoy the variation in your sound that will keep you interested for an entire song. That offset control is made for modulation!)
Chaos control 1 3 – gtd & tasks chart
.
Formant Filter
Vowel sounds! Woo.
Basically two filters setup to boost and resonate at a given frequency that mimics the sound of a spoken human vowel.
The interface is pleasantly easy to use and recognize what’s occurring, and modulation is assignable for X/Y without hassle.
A more interesting feature is that you can click ‘Lows’ or ‘Highs’ to chop up the spectrum below or above the filters. Stacking these in lanes with the low/highs turned off can make for some interesting results.
Utilized with an Envelope, potentially tied to an LFO or two, Formant Filter opens itself up to creating some fun voice-like sounds and deep growling basses. A lot of modern music is based around formant-filtered basses, and Phase Plant makes it surprisingly easy to get started.
Frequency Shifter
Frequency Shifter
Pitch shifters maintain harmonic relationships, Frequency Shifters do not.
Frequency Shifter is about as simple as it gets, and thankfully it shows the actual shifted distance. I personally rarely use frequency shifters, but they’ve become a major part of the sound design world recently. For those that want it, I suspect the simplicity will be appreciated.
Gain
Gain, duh.
Glad it’s here, and that it’s easy to use.
Gate
Gate
Gates are usually not very complex, but Phase Plant’s gate is curiously useful.
You get the normal controls: threshold, attack, release, hold, range, hysteresis (tolerance knob) and look-ahead. Cool. Notably the attack sounds very good for a gate.
There’s an invert control that makes the gate keep low level signals and kill higher amplitude signals.
Extremely
useful for adding subtle effects to a patch that don’t stand out too much. Combine it with an identical gate in another lane, but not inverted. Now you can have effects that are amplitude dependent without relying on modulation. I love using gate for these sort of ‘levels of sound’
Once again the sidechain is super easy to use.
It’s surprising to me that an abnormally specced gate is in a synthesizer, and even more surprising how much fun I have using it.
Though… that unscaled threshold still annoys me.
Raw loops techno code wav download free
.
Haas
Delay one channel. Makes things sound wider. Turns your signal into a comb filter in mono.
Ladder Filter
Ladder Filter
The venerable Moog Ladder Filter. The DSP for this is described all over the internet, and I can’t say that this sounds particularly unique.
I’m not saying that it isn’t a unique implementation, it very well may be, but it doesn’t sound particularly unique to me.
It’s nice that they have at least one emulated filter though. (The Diode mode does sound pretty cool though)
Limiter
4 controls, and once again a threshold/input level control that isn’t scaled.
It’s alright for low gain reduction limiting, but…
It does an incredible job when you really push it. I was quite surprised when I decided to just abuse it with 20dB+ of gain reduction on simple patches and there was nastiness. More complex patches started to show its limitations (hah). Not many synths come with limiters and I can say that I’m not only not disappointed with Phase Plant’s limiter, but I’m surprisingly impressed by it.
I’ll have to spend some time with it in Multipass.
Phase Distortion
Phase Distortion
Phase distortion as an effect is a unique addition. The idea is essentially like an all-pass filter that works relative to harmonics rather than to a fixed filter corner. I would guess that it’s some sort of modulation of the signal by a saturated version of itself? Maybe?
As interesting as it is, I rarely found use for it. You’re basically forced to limit the bandwidth of your signal post-phase distortion with the tone knob, and most of the parameters sound strange when modulated.
I did experiment with the sidechain to see if that helped any, and it still didn’t yield particularly musical results.
I would suspect that phase distortion would be a key to getting more ‘analog-like signals’ with offset harmonics, but I just wasn’t able to utilize this effect for that purpose successfully.
Phaser
Allpass filters, but modulated. There’s no cool bonuses here, and it’s a bit sad that there’s no control for the number of filters.
Pitch Shifter
Pitch Shifter
Oh hey, a pretty decent sounding pitch shifter.
The jitter effect is really neat. It’s a modulation on the pitch shifting that gives you a flanger-like/unison-like sound.
Controlling grain size is fun, especially with modulation. A neat trick I’ve enjoyed using is an envelope on the grain size (pitch shifter set to an octave), so that you get this gentle peak of a vibrato-like effect. It almost feels like a singer’s voice straining a bit when they really push their range. Toss on a Formant Filter and have something pretty neat.
Resonator
Resonators are cool. Phase Plant’s resonator is cool. Two types of resonance (harmonic sequences/shapes) combined with the modulation system is fun.
I do wish that the timber was a continuously variable parameter. That would add another dimension to the versatility of the resonator.
I also feel somewhat limited with only 3 parallel effects lanes for the resonator. Some impressive physical modeling can be done with parallel resonator banks, but that’s not easily achievable in Phase Plant.
Reverb
Reverb
I can’t stand the reverb. It has that metallic, non-diffuse character that sounds amateurish. It might be OK for some very dense sounds, but anything percussive or simple… the reverb just sounds nasty.
Maybe you like that grainy ‘filtered delays’ sound, then you’ll be happy. If you’re expected a dense, diffuse and modulated reverb then… sorry.
Reverser
Buffer-based delay reversing. Signal is split into buffers of a given size, delayed by that buffer sized, then reversed.
The crossfade parameter is useful, particularly when used with modulation. Try it with an envelope or MIDI Note to give your reversed delay a more smooth character as the sound develops or as you move around the keyboard.
Ring Mod
Ring Mod
Signal * Carrier.
It’s really cool how much control that you are given over the carrier, and the 4 carriers your get (Low-passed Noise, Bandpassed Noise, Self and Sine).
It does appear that the display doesn’t work correctly for the sideband or self modulators though? Maybe it’s intentional, but if so then it’s confusing.
Slice EQ
Stereo
Stereo
Mid/side control and a
balance
control that’s improperly named “pan”.
There’s a neat meter that shows you both the width and the “center” of the stereo spread as well.
Tape Stop
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Trance Gate
A sequenced gate with ADSR. There’s a circle where you can turn on/off parts of the sequence, and the number of parts in the sequence.
It would be a good bit cooler if you could control an arpeggiator from it as well, but since it’s an effect on the output, not the input, you’re stuck with just a gate. A cool gate, but just a gate.
There are 8 different gate patches available, but you can’t modulate patch selection (or sequence point on/off status). Meh.
Transient Shaper
your browser does not support the video tag.
it’s a transient shaper with an ultra neato animation.
the “pump” parameter is an interesting addition that creates a bit of a lull in the signal that further emphasizes the attack
and
release.
the sidechain parameter is even cooler still. you can craft your own sound to adjust the envelope of another.
extremely
useful for creating a drum sound, creating an extreme envelope and then applying that through the transient shaper. much easier than messing with envelopes and offers you some extra control.
navigating the interface means interacting with small scroll bars. after 4+ devices anywhere, you’ll be interacting with those awful little scrollbars constantly.
selection of effects and generators and modulators is rather small compared to competing products. see the conclusion however!
adding generators before existing generators is a pain. you have to add it at the bottom, then drag it up. very annoying.
lots of scrolling to deal with even a modest number of modules.
i dislike the generators automatically routing. i can appreciate that this makes things quicker to use, but removing a module from the signal path is 2 extra steps, and i find myself doing that more often than being happy with the implicit routing.
in the convert sample editor,
it does not appear to be possible to change the ‘source position’ of a keyframe. from what i can tell, you need to delete the current keyframe and make a new one, which creates a mess of ghost keyframes. the ui gets cluttered really quick.
edit
: there is a “source” parameter that can be changed. i was expecting the bar to be draggable with the mouse, but it is not. oops.
there’s no easy way to transition/fade the edges of frames so that you can remove discontinuities without greatly affecting the current signal. essentially i’d like a windowing function for the frames.
you can preview the resulting wavetable via midi input, however most converted samples will yield low amplitude wavetables. there really needs to be an ‘auto-normalize’ function in the wavetable editor so that you can preview the current sound.
likewise a simple gain control would be nice if you wish to keep the inter-frame dynamics intact.
you can’t move an existing keyframe while keeping your view on an existing frame. if i have two keyframes at position 1 and 50, and i want to watch what happens to frame 25 as i move the last keyframe around… too bad. since the frame selection is automatic between keyframes, i found that i frequently wanted to see what happened to a given frame while i moved around a keyframe.
i’ve mentioned competition a few times here. any sort of modular system with audio-rate modulation or ultra-modular system fits the bill. i know of plenty of things that surpass phase plant in functionality. melda sound factory is a superlative example of surpassing phase plant’s functionality in a large number of facets. softube modular is also an incredible system that forces you into the analog workflows.
so why even use phase plant? what’s the point? surely you can get better, right?
there’s a difficult concept to encapsulate in writing. i think maybe “homogeneity” is a good word for it? i’m talking about the ease of movement through a ui because simple paradigms are used and
reused
throughout. building complexity from a small set of uniform building blocks.
phase plant offers that. you get one style of modulation assignment that’s attached to the source and destination. you get one style of adding things. the gui widgets are all very similar. there’s a single 3 pane interface and no menu-diving or layer diving.
i’m no designer, but i can’t come up with a less complicated way of creating software that allows such complexity results.
there’s a great deal of value in a product that allows you to reach your goals with the least friction possible, and even better so if there’s a bit of opinion thrown in. that’s what phase plant is.
you get
a bunch
of stuff in phase plant, but more importantly you get someone’s idea of how to build complexity from a uniform set of building blocks. it’s like buying a lego
kit
where you build something really cool from the core block set, rather than having someone throw every weird type of curvy lego brick at you and expecting you to make it yourself.
if you’re the type of person that likes to get things done without friction, then phase plant is absolutely for you. if you enjoy piecing things together from bare bits and don’t mind a variety of interfaces, menus, windows and other context switches… then phase plant may change your mind.
there’s a lot of power here, particularly relative to how simple it is. if you don’t believe me, then check this out.
i reviewed the kilohearts toolbox professional version here, which is $349 or $9/month usually. i was given this copy for review and did not pay for it.
this post took 39 hours to research, photograph, write and edit. if you appreciate the information presented then please consider joining patreon or paying me for my time spent bringing you quality content!
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>
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