Thanks! @disquiet, here’s the LION 1.0 manual: LION Manual.pdf (3.6 MB)
It should be released sometime in the next two weeks.
Vintage Synth Pads just posted a preview of a really nice set of ambient presets: https://soundcloud.com/vintage-synth-pads/sets/vsp-magic-modular-for
@AlessandroBonino, sure! It was made entirely with VCV and my mouse. I’m been having a bit of anti-GAS lately where I’m stripping down my studio and trying to use as little as possible. It sounds a lot more like European program music (i.e. what you hear more at academic institutions) than what I typically release, but I think the last track in particular is one of the better pieces I’ve made. I’m especially satisfied with the mixing/mastering job.
Here’s the VCV patch, as cabled for the last track:
In general, Elements is the primary generator, Marbles and Caudal are the sequencers/modulators, and then Glitch Shifter + Fabfilter Pro-R are the effects. Slap and Rings are used sparingly to affect the timbre of Elements. On the final track, Pro-R is sitting in the Glitch Shifter feedback loop. On the other tracks, the Glitch Shifters are cross-wired feedback-wise and then sent to the reverb instead. Console isn’t really doing anything… I just have that connected to Scope, Rec, and Audio-4 as my VCV template patch. Even though the patches grow in intensity, Caudal’s speed was actually lowered from track-to-track. On the last track, the Speed is turned all the way down, and I’m making use of the HIT button to create those dramatic transitions.
I recorded about 14 takes with various cabling setups. I probably recorded about 1.5 hours of material. The opening track is my practice run with the patch.
For mastering, I stopped paying for Adobe CC a few months back once they raised the rates on me. Previously, I used Adobe Audition. I have a developer license for Studio One, so I decided to try that out. The project mode is excellent! Very clear metering and track layout… I mastered all the tracks together at once instead of individually. I’ll be using that from now on.
The final chain was:
Fabfilter Pro-MB->bx_masterdesk->Shadow Hills Mastering Compressor->Fabfilter Pro-L.
I hadn’t used the Shadow Hills plugin yet (it just came out a few weeks ago), but I think that it did a great job at handling the dynamic range without over-squishing it. bx_masterdesk was mainly used for bass imaging (keeping everything below 80 Hz on the center channel).
