Ableton Forum

Other than the beta announcement, I'm not seeing anything about Presswerks on this thread. Nobody interested?

I just burned my $25 coupon picking it up. After using the demo version as a "character" compressor on some of my kick drum and bass tracks, I had to have it. It sounds voluptuous!!

This is very interesting, Urs mentioned,"Hive has 3 different synth engines that share the same parameter set, but sound and behave differently. Different super saw detune laws, different bottom end, different filter sound, different envelopes, different voice management.

One shouldn't expect wonders from it - a basic patch will sound nearly identical in all 3 flavours. But then, some sounds might benefit from details found in one or the other engine."

I wonder what are those synths..a completely new one? Usual suspects are Sylenth1, Spire, Dune, Virus and hopefully Vanguard It's like a Diva of the EDM synth now.

HIVE has three synth engines none are a simulation or based on any synths. HIVE is HIVE. Urs has dropped clues on what market and type of synth Hive is going for which is Sylenth and EDM.

"Hive has 3 different synth engines that share the same parameter set, but sound and behave differently. Different super saw detune laws, different bottom end, different filter sound, different envelopes, different voice management.

One shouldn't expect wonders from it - a basic patch will sound nearly identical in all 3 flavours. But then, some sounds might benefit from details found in one or the other engine."

Anyone can suggest a use or methodology for U-he Satin that will show it from its best light? Where in the effects chain does it work most effectively and what role could it play for my sound in my setup among SSL Channel Strips, dense Saturation plugins, distorsion plug-ins and compressors?

I got it installed as a demo right now. It sounds alright, but the results are very subtle — which is good —  and I'm not sure whether my other plug-ins aren't already giving me most of those wonderful analogue nuances. So far only listened to the results with it in head phones. Different monitors next.

What about use on specific instruments? Left/Right Panoration. What do you use it for?

Must admit I listened to the audio demo's of Satin and thought what is this sound everybody is raving about?.. then shit my ears might not be as golden as I thought. Appears subtle to me so much so I decided to give it a miss, mainly because I still struggle with the coarser aspects of production so felt money would be wasted.

I'd like to hear an example of satin producing an obvious improvement.

I drew to the conclusion that maybe it works better for blending synths into acoustic/real instrument mixes rather than my mostly synthesized fodder.

Mr-Bit wrote:Must admit I listened to the audio demo's of Satin and thought what is this sound everybody is raving about?..

I thought first this about the Waves Kramer Tape plug-in too, but when I tried it for fun on a simple mastering exercise I must admit it did add some density to the sound. I can imagine using a tape saturation plug-in on things like a vocal channel could add some additional nuances. I definitely will try that before the demo expires.

I already have the Melda MMultiBandSaturator and I think it's wonderful so far. I also use Dub Machines for delays and the tape dimension really adds the kind of sound to my delays that I love.

I think of tape saturation like a finishing touch, but maybe there are other uses for a plug-in like Satin that I'm overlooking at the moment?

I use Satin on every single channel of everything I do. It is extremely subtle (or not if you want it more obvious). I make sure the volume does not increase when turning it off/on so as to not get fooled by the very human "Louder is better" trick.

Basically, I really miss it when it's turned off - a very slight lovely silky warmth disappears.

Gotta run to catch a train, would love to go into detail. Maybe later if anyone cares.

tedlogan wrote:I use Satin on every single channel of everything I do. It is extremely subtle (or not if you want it more obvious). I make sure the volume does not increase when turning it off/on so as to not get fooled by the very human "Louder is better" trick.

Basically, I really miss it when it's turned off - a very slight lovely silky warmth disappears.

Gotta run to catch a train, would love to go into detail. Maybe later if anyone cares.

If you put it on every channel, why not just stick a single instance on your master?

mholloway wrote:

tedlogan wrote:I use Satin on every single channel of everything I do. It is extremely subtle (or not if you want it more obvious). I make sure the volume does not increase when turning it off/on so as to not get fooled by the very human "Louder is better" trick.

Basically, I really miss it when it's turned off - a very slight lovely silky warmth disappears.

Gotta run to catch a train, would love to go into detail. Maybe later if anyone cares.

If you put it on every channel, why not just stick a single instance on your master?

Just guessing, but...different levels/settings for different tracks?

ImNotDedYet wrote:

mholloway wrote:

tedlogan wrote:I use Satin on every single channel of everything I do. It is extremely subtle (or not if you want it more obvious). I make sure the volume does not increase when turning it off/on so as to not get fooled by the very human "Louder is better" trick.

Basically, I really miss it when it's turned off - a very slight lovely silky warmth disappears.

Gotta run to catch a train, would love to go into detail. Maybe later if anyone cares.

If you put it on every channel, why not just stick a single instance on your master?

Just guessing, but...different levels/settings for different tracks?

Because they have a cumulative effect, and yes - different settings for different instruments. I basically pretend that each instrument/synth/voice is recorded to tape, with the "tape" in this case being Satin, on each channel. This is "taped" onto the master channel, which has another instance of Satin. It certainly makes everything less sterile. The master instance is usually simply the "Default Studio" preset, with the "Hiss" and "bump" toned down quite a bit. Up until fairly recently I used the master instance set to more extreme settings, too much bass, too hot, too loud. Less is more...

Good instrumentation, performance, arrangement, gain-staging, mixing etc is gonna do 99% more for your mix than Satin or any such plugin ever will. But, I do like that little bit of extra 1% on top.

Like I said, I do miss it when it's turned off. It's a similar almost-subliminal effect like when you turn your subtle reverb sends completely down on all your channels - something's amiss.

My current perfect setup is just Bazille paired with Satin. Sounds great to me. Still experimenting with different settings and testing presets. For just jamming and not worrying about fitting stuff into a mix, the preset "BH Masterbuss Thick & Warm" is juicy.

Edit : I forgot to mention using Satin in flanger or chorus/delay modes. Lovely lovely sound.

and a full pic

I have a feeling the longstanding issue of Sylenth still not being available in 64bit for Mac is about to disappear as a problem in my life....

It is the most beautiful name for a synth - Hive. I always hear Patrick Stewart saying it. "..of the hive mind.." Apt too, considering the neverending search for emulating the flapping of bees' wings

ezelkow1 wrote:and a full pic

Looks greater than expected, it's fresh, modern and effective. Almost like the EDM of Zebra

Wow now all we need is to hear it do a phaser supersaw pad