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Oeksound spiff - An adaptive transient processor Dynamics Plugins
Old 19th April 2018
  #121
In 2013 I was working as a DAW support guy at major supplier and installer of hard- and software with hundreds of clients using iLok protected software. Then I read on Gearslutz about the great iLok debacle/meltdown and nearly shat myself, put my head between my legs waiting for the **** to hit the fan. There was not even one phone call. I may have been extremely lucky?
Old 19th April 2018
  #122
Lives for gear
 
blackcom's Avatar
 

So I allready have Soothe and I CANNOT mix without it now.

Trying Spiff out and I cannot really find a use for it but at the same time thinking about how good Soothe is I WANT to find out what this thing can do so I dont miss out later.

Any good tips how to try this plugin out better? Im running the demo now.

About the iLok I bet there is two kinds of people. The ones who lost licenses after the iLok scandal and those who did not synch at all that period and dident loose anything. Im the latter, fortuately. Perhaps iLok should be a different thread?
Old 19th April 2018
  #123
Lives for gear
 
jsblack's Avatar
 

As been mentioned, for creative sound design, this plugin is great.. Most of the time ( first demo day ) i leave the delta mode ON and dial back the mix a bit if needed..
Old 19th April 2018
  #124
Here for the gear
 

Quote:
Originally Posted by blackcom View Post
So I allready have Soothe and I CANNOT mix without it now.

Trying Spiff out and I cannot really find a use for it but at the same time thinking about how good Soothe is I WANT to find out what this thing can do so I dont miss out later.

Any good tips how to try this plugin out better? Im running the demo now.

About the iLok I bet there is two kinds of people. The ones who lost licenses after the iLok scandal and those who did not synch at all that period and dident loose anything. Im the latter, fortuately. Perhaps iLok should be a different thread?
I also love Soothe and have used in every track since the beginning. I just use it really subtle though, just to remove a bit of harshness and it is one of the plugins I don`t want to miss. It does not change the sound a lot, it just "soothes" it I would say.

While playing around with Spiff I was suprised, cause I did not know what to expect first. It is definitely not a second Soothe. It is way more for shaping sounds and changing the character of a sound. I used it on drums and omg - it is crazy how this thing works on a drum bus. Never had this kind of control over the drums. It is not like a compressor or an eq, I see it as a creative tool to shape sound. I also used it on vocals and tried to use it like a de-esser. Maybe I did not turn the right knobs, but this did not blew me away. On a plucky synth on the other hand, it was really great so shape the transients and place it in the mix. Also with that mid-side feature, really handy. So I think maybe just play around with it on different instruments / groups and turn the knobs. I like to start with a really extreme setting and turn it back slowly to see what it really does. There is more control possibilties in Spiff than I thougt. Still need time to experiment, right now I think this is a really unique plugin, with things no other plugin can do. But that is what is amazing, I already have more than enough eqs, compressors and so on
Old 19th April 2018
  #125
Lives for gear
Spiff has proved as invaluable as soothe in no time at all. On mixes and masters.
Thank you again oek sound!

Now please give us more soothe but with better focus on the real low end
Old 19th April 2018
  #126
Gear Maniac
 

Does Spiff benefit from running at 96kHz just as Soothe?
Old 20th April 2018
  #127
Gear Nut
 

Quote:
Originally Posted by fredouli View Post
Now please give us more soothe but with better focus on the real low end
Hear, hear!

Soothe has been indispensable for me in taming sloppy low end -- being able to adjust the gui to allow more focus on the lows would be extremely well received on this end.

- and because this is a spiff thread -

I'm finding more and more ways for it to become the second oeksound tool that I'll never be able to live without. It's an absolute joy using it on more sample / computer based music. The amount of control I have over the impact of a sound is almost overwhelming. Thanks again oeksound!
Old 20th April 2018
  #128
TNM
Lives for gear
Quote:
Originally Posted by All_Night View Post
AFAIK Soothe has never been cracked. So the protection system he was using must have been working pretty well. I had no problems with it.
in that case why change it.. that's a bit strange.. even as an ilok lover i would have to say why piss off the customer base then and change an existing product..

Doesn't make sense to me at all, the only reason to pay the exorbitant ilok fees would be for protecting something that hasn't been protected properly..

Hmmm....
Old 20th April 2018
  #129
Gear Addict
 

Quote:
Originally Posted by TNM View Post
in that case why change it.. that's a bit strange.. even as an ilok lover i would have to say why piss off the customer base then and change an existing product..

Doesn't make sense to me at all, the only reason to pay the exorbitant ilok fees would be for protecting something that hasn't been protected properly..

Hmmm....
They mentioned the reason in the spiff email announcement - their development time was being consumed by managing and keeping the licensing system compliant with the different OS requirements that keep rolling out. It isn't a trivial task to have to continually adapt the different permissions and certificates/signing required by the OS just for the app itself, let alone develop a transparent yet effective licensing system with each OS security update.

They made this change to focus their time on developing their products rather than maintain copy protection and I find that decision very logical.

I understand people's phobias and vitriol concerning ilok, but my DAW (PT) required a dongle, so I am already stuck with it. Let's face it, all licensing systems are prone to error and you can lose your license far too easily as you transfer it onto your computer from the internet.

It seems very fashionable to decide what a company should or shouldn't do with their IP and try to bully them into a certain way of thinking these days. Personally, I just love the fact they are committed to innovative audio processing, and I'll let them determine their operations and I'll use their products because they are worth it.
Old 20th April 2018
  #130
Here for the gear
 

version 1.0.1 released

Hi,

the first minor update (v1.0.1) is now available for download:
oeksound | plug-ins you actually need

If you had no issues with 1.0.0, then there's no reason to update.

This update should fix the issue on some hosts where "no valid license found" error message appears whether a license is present or not. Also, some required additional runtime components are now bundled with the Windows installer (the installer will ask for installation if they are missing).
Old 20th April 2018
  #131
Here for the gear
 

Quote:
Originally Posted by DarkandKurious View Post
They mentioned the reason in the spiff email announcement - their development time was being consumed by managing and keeping the licensing system compliant with the different OS requirements that keep rolling out. It isn't a trivial task to have to continually adapt the different permissions and certificates/signing required by the OS just for the app itself, let alone develop a transparent yet effective licensing system with each OS security update.

They made this change to focus their time on developing their products rather than maintain copy protection and I find that decision very logical.

I understand people's phobias and vitriol concerning ilok, but my DAW (PT) required a dongle, so I am already stuck with it. Let's face it, all licensing systems are prone to error and you can lose your license far too easily as you transfer it onto your computer from the internet.

It seems very fashionable to decide what a company should or shouldn't do with their IP and try to bully them into a certain way of thinking these days. Personally, I just love the fact they are committed to innovative audio processing, and I'll let them determine their operations and I'll use their products because they are worth it.
Thank you! Couldn't have explained better the fundamental reasons behind the decision to switch over to iLok.

However, while iLok is more convenient to many, we also understand the viewpoint of our existing and potential customers who have decided to completely avoid the iLok/PACE licensing system. We are investigating possible alternative options that could complement the iLok activation mechanism, but unfortunately we can't make any promises on the subject yet. Just to let you know that we are working on it.
Old 20th April 2018
  #132
Here for the gear
 

Quote:
Originally Posted by BRoySound View Post
Honestly, it's much much more than a regular Transient Shaper....Making Presets and using it in so many different ways .....

I was thinking of Making 10 - 15 Basic Presets Free for Everyone, but then I got so much Involved that I completed around 50 Presets....Get it for a No-brainer $5

Buy Here - Embrays Designs - Oeksound Spiff

50 Templates to Clean, Beef Up, Tighten, Widen, Stereo Space your Tracks.....and then Use the Depth and Decay knob to further Improve your Sounds....

See Video -
Nice, thanks for taking the time to craft these!
Old 20th April 2018
  #133
Lives for gear
Quote:
Originally Posted by TNM View Post
in that case why change it.. that's a bit strange.. even as an ilok lover i would have to say why piss off the customer base then and change an existing product..

Doesn't make sense to me at all, the only reason to pay the exorbitant ilok fees would be for protecting something that hasn't been protected properly..

Hmmm....
I think it makes sense.
To make an analogy: Let’s say a brick and mortar shop was built in a neighborhood that was known to have break ins and burglaries. Let’s also say that business had locks on all the doors but the owner wanted to upgrade the store’s security with a high tech alarm system, even though they had not been burglarized yet. That move would make total sense to me. Why wait for something bad to happen? Why wait to potentially suffer the same fate that other businesses in the neighborhood have suffered?
Old 20th April 2018
  #134
Gear Nut
 
DivideByZero's Avatar
Quote:
Originally Posted by Squeegee 303 View Post
I think it makes sense.
To make an analogy: Let’s say a brick and mortar shop was built in a neighborhood that was known to have break ins and burglaries. Let’s also say that business had locks on all the doors but the owner wanted to upgrade the store’s security with a high tech alarm system, even though they had not been burglarized yet. That move would make total sense to me. Why wait for something bad to happen? Why wait to potentially suffer the same fate that other businesses in the neighborhood have suffered?
The more apt analogy would be the brick & mortar store's high-tech security system consisted of requiring all customers to insert a bulky device into an available bodily orifice while on store property, but your point stands
Old 20th April 2018
  #135
TNM
Lives for gear
Quote:
Originally Posted by DarkandKurious View Post
They mentioned the reason in the spiff email announcement - their development time was being consumed by managing and keeping the licensing system compliant with the different OS requirements that keep rolling out. It isn't a trivial task to have to continually adapt the different permissions and certificates/signing required by the OS just for the app itself, let alone develop a transparent yet effective licensing system with each OS security update.

They made this change to focus their time on developing their products rather than maintain copy protection and I find that decision very logical.

I understand people's phobias and vitriol concerning ilok, but my DAW (PT) required a dongle, so I am already stuck with it. Let's face it, all licensing systems are prone to error and you can lose your license far too easily as you transfer it onto your computer from the internet.

It seems very fashionable to decide what a company should or shouldn't do with their IP and try to bully them into a certain way of thinking these days. Personally, I just love the fact they are committed to innovative audio processing, and I'll let them determine their operations and I'll use their products because they are worth it.
Fair enough then, I didn't see the email, cheers,thanks for explaining.

I noticed it does not need the physical key.... personally i'm not ilok phobic, i love the damn thing.. so convenient.. i prefer it to elicenser, all other protection systems actually.. codemeter too which loads resident processes.

Ilok only activates when a plugin or daw that uses it is instanced. It's got no overhead, unlike codemeter.. now THAT'S the one people should worry about.. That literally uses CPU just sitting on your OS desktop.
Old 20th April 2018
  #136
TNM
Lives for gear
First, OT but need to vent my frustration... I just spent an hour, straight with no breaks, trying to de ess a vocal with soothe. I learnt how to use it from back to front and front to back, all the right frequencies are selected, I have tried every combination of depth and sharpness and resolution imaginable.. and it not only removes too much around the sibilants, it doesn't remove enough of the actual sibilants. I inserted a pro-ds, and in under 60 seconds I had a perfect vocal. 60 seconds.

That frustration aside, I am actually really impressed with spliff..
It can do some amazing things to transients.. I don't like the latency which is present even if i take it out of linear phase mode.. and I don't like that I can't do BOTH sustain and attack simultaneously..it seems to be either/or..
It is that, which will ultimately stop me from purchasing it. By mucking around with neutron 2 in 3 band mode, i was also able to get amazing, albeit different, results, because i was also able to shape the sustain AND attack on each band.
Old 20th April 2018
  #137
Lives for gear
Quote:
Originally Posted by DivideByZero View Post
The more apt analogy would be the brick & mortar store's high-tech security system consisted of requiring all customers to insert a bulky device into an available bodily orifice while on store property, but your point stands
Well played.

Your comment made me laugh out loud.
Old 20th April 2018
  #138
Lives for gear
 
TobyToby's Avatar
 

Quote:
Originally Posted by ctms777 View Post
In 2013 I was working as a DAW support guy at major supplier and installer of hard- and software with hundreds of clients using iLok protected software. Then I read on Gearslutz about the great iLok debacle/meltdown and nearly shat myself, put my head between my legs waiting for the **** to hit the fan. There was not even one phone call. I may have been extremely lucky?
No, you have not been lucky. You just have professional clients and not hobbyists with an inbuilt complain mode
Old 21st April 2018
  #139
Gear Nut
 

Quote:
Originally Posted by TNM View Post
First, OT but need to vent my frustration... I just spent an hour, straight with no breaks, trying to de ess a vocal with soothe. I learnt how to use it from back to front and front to back, all the right frequencies are selected, I have tried every combination of depth and sharpness and resolution imaginable.. and it not only removes too much around the sibilants, it doesn't remove enough of the actual sibilants. I inserted a pro-ds, and in under 60 seconds I had a perfect vocal. 60 seconds.
Keep in mind that soothe primarily effects harmonic content, so using it to try to de-ess is only going to get you so far because the 'ess' sound is, well, noise.

I find it's better suited for controlling honky mid range on instruments, flubby low end, and being used creatively when trying to divide what sonic elements of a vocal are going to be sent to a reverb and things like that.

Like you, I tend to find more success de-essing using a traditional de-esser.
Old 21st April 2018
  #140
Gear Addict
 

Quote:
Originally Posted by TNM View Post
First, OT but need to vent my frustration... I just spent an hour, straight with no breaks, trying to de ess a vocal with soothe. I learnt how to use it from back to front and front to back, all the right frequencies are selected, I have tried every combination of depth and sharpness and resolution imaginable.. and it not only removes too much around the sibilants, it doesn't remove enough of the actual sibilants. I inserted a pro-ds, and in under 60 seconds I had a perfect vocal. 60 seconds.

That frustration aside, I am actually really impressed with spliff..
It can do some amazing things to transients.. I don't like the latency which is present even if i take it out of linear phase mode.. and I don't like that I can't do BOTH sustain and attack simultaneously..it seems to be either/or..
It is that, which will ultimately stop me from purchasing it. By mucking around with neutron 2 in 3 band mode, i was also able to get amazing, albeit different, results, because i was also able to shape the sustain AND attack on each band.
I find my best de-essing is a combination of soothe and Izotope RX Spectral DS. After basic EQ and compression I use soothe to target the odd whistle or piecing resonance so that the 'ess' is more uniform in tone, the use the spectral de-esser at a lower level. Neither on their own remove enough of the sibilance, but together it is quite an elegant sound. I'm a big believer in lots of little steps to retain a natural sound. Soothe takes some of the burden of gain reduction down so that each process is doing less. The sharpness of the filters is your friend, as well as looking at the spectrum and finding the resonance of the sibilance. Another trick for a natural sound is to overdo the soothing and then blend back a little of the unprocessed to restore a bit of the natural tone.

It might seem OT to mention this, but it is the same workflow giving me results with spiff. I find what my target area is by looking at the spectral view in RX or an EQ (ie find where the gaps or excess in the transients are specifically), set the sidechain EQ to exclusively focus on that and then start processing.

Regards the attack and sustain, is there any reason you can't use one instance for each task? That allows the process to be exclusively tuned to each part of the envelope you're after as well as greater control.

I haven't checked, but the latency will probably change based on the size of the window used. On a plugin like this, I'm always using it on playback channels so it doesn't worry me, but I guess it could be cumbersome while writing sample parts.
Old 21st April 2018
  #141
Here for the gear
 

This is pretty common with most things.

Person A: "I had problems with X. I don't like X and avoid X."

Person B: "I never had a problem with X. Person A should shut up."

If person B eventually does have a problem with X, they become person A.

I had (multiple) problems when I tried to use iLok. Yes I know it may have been a number of factors only affecting the specific situation I had going on at the time, and many people have no problems with iLok. But my instinct to rely on past experience makes me want to avoid it and only try it again if pushed into it, if I can bring myself to be pushed into it.

Another good example of "X" is PayPal. People who have had problems or have been burned will avoid PayPal and tell others to avoid it very passionately. For people who have never had problems using PayPal, they don't understand what the big deal is and concludes the person complaining about it must be nuts or something.

Just part of the human experience!
Old 21st April 2018
  #142
Gear Maniac
 
rectape's Avatar
I’m’trying it right now. Amazing on drums as someone said. You can bring things pop in a way I never experienced before BUT the latency is BIG and I miss the release control...

In Studio One 3 it’s the only plugin that delay a track when you activate deactivate...

I don’t know for now if It’s worth the price of admission.

Regarding the Ilok thing man it’s boring as hell, for each product release it’s the same routine on GS. It’s been out there for so many years, Move on guys and let’s speak about the actual plugin.
Old 21st April 2018
  #143
Here for the gear
 

Quote:
Originally Posted by rectape View Post
I’m’trying it right now. Amazing on drums as someone said. You can bring things pop in a way I never experienced before BUT the latency is BIG and I miss the release control...

In Studio One 3 it’s the only plugin that delay a track when you activate deactivate...

I don’t know for now if It’s worth the price of admission.

Regarding the Ilok thing man it’s boring as hell, for each product release it’s the same routine on GS. It’s been out there for so many years, Move on guys and let’s speak about the actual plugin.
Thanks for giving spiff a go! About the missing release control, do you have something on your mind that can't be achieved with the "decay" and "decay lf/hf" controls?

Tommi / oeksound
Old 21st April 2018
  #144
Gear Head
 

Demoing it for a week now and I've already used it multiple times for different tasks but mainly for fixing problems. I was perplexed at first too, it takes time to get grips with the plug-in (at least did for me) and you really need to get familiar with the controls but once everything clicks it can be invaluable tool (dare I say almost magical).
Old 21st April 2018
  #145
Gear Maniac
 
rectape's Avatar
Quote:
Originally Posted by tgrohn View Post
Thanks for giving spiff a go! About the missing release control, do you have something on your mind that can't be achieved with the "decay" and "decay lf/hf" controls?

Tommi / oeksound
Hi,

I tought about something like the sustain control in the Sonnox Envolution.
Old 22nd April 2018
  #146
TNM
Lives for gear
Quote:
Originally Posted by justifiednoise View Post
Keep in mind that soothe primarily effects harmonic content, so using it to try to de-ess is only going to get you so far because the 'ess' sound is, well, noise.

I find it's better suited for controlling honky mid range on instruments, flubby low end, and being used creatively when trying to divide what sonic elements of a vocal are going to be sent to a reverb and things like that.

Like you, I tend to find more success de-essing using a traditional de-esser.
Well that;s where I have gone wrong.. I have literally seen more than one youtube video, saying it is primarily designed as a vocal de esser.

So there you go. That's the power of wrong info in cyberspace for you.

Cheers for clearing that up.

I'll give it a go on some sounds with some nasty resonances and see how I fare vs a dynamic EQ (i usually use the MCDSP AE600).
Old 22nd April 2018
  #147
TNM
Lives for gear
Quote:
Originally Posted by DarkandKurious View Post
I find my best de-essing is a combination of soothe and Izotope RX Spectral DS. After basic EQ and compression I use soothe to target the odd whistle or piecing resonance so that the 'ess' is more uniform in tone, the use the spectral de-esser at a lower level. Neither on their own remove enough of the sibilance, but together it is quite an elegant sound. I'm a big believer in lots of little steps to retain a natural sound. Soothe takes some of the burden of gain reduction down so that each process is doing less. The sharpness of the filters is your friend, as well as looking at the spectrum and finding the resonance of the sibilance. Another trick for a natural sound is to overdo the soothing and then blend back a little of the unprocessed to restore a bit of the natural tone.

It might seem OT to mention this, but it is the same workflow giving me results with spiff. I find what my target area is by looking at the spectral view in RX or an EQ (ie find where the gaps or excess in the transients are specifically), set the sidechain EQ to exclusively focus on that and then start processing.

Regards the attack and sustain, is there any reason you can't use one instance for each task? That allows the process to be exclusively tuned to each part of the envelope you're after as well as greater control.

I haven't checked, but the latency will probably change based on the size of the window used. On a plugin like this, I'm always using it on playback channels so it doesn't worry me, but I guess it could be cumbersome while writing sample parts.
Yes, it becomes a serial process if I use one for each.. It's not the same thing as using a transient designer with both simultaneous sustain and attack, but I will give it a go regardless. It's a very interesting processor and I think i will have to get it anyway.. Cause there was this horribly compressed, lifeless drum loop i was dealing with in a song a friend asked me to mix, that was getting buried under the music and it was the main drumline of the song!! I was instantly able to make it punchy and literally give it life right throughout the song, with spliff..It didn't even sound over compressed anymore, let alone flat.. Just heaps of snap and punch. So that was really cool.
Old 22nd April 2018
  #148
Gear Nut
 

Quote:
Originally Posted by TNM View Post
I'll give it a go on some sounds with some nasty resonances and see how I fare vs a dynamic EQ (i usually use the MCDSP AE600).
Personally, I haven't reached for a dynamic eq since I started using it. Here's hoping you find similar results! Cheers!
Old 22nd April 2018
  #149
Quote:
Originally Posted by melopie View Post
iLok? Won't be buying your new plugin and will sell my Soothe license...Not nice to change this.
I'll buy it. PM me
Old 22nd April 2018
  #150
Lives for gear
 
galaydees's Avatar
 

Quote:
Originally Posted by justifiednoise View Post
Personally, I haven't reached for a dynamic eq since I started using it. Here's hoping you find similar results! Cheers!
I have. There is some crossover, yes, but they are not the same. Soothe is cut only.
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