"Triple D is the most interesting conceptually, and possibly the most useful" That way, you could get some much more interesting pumping and breathing on the reverb tail. The compressor over the reverb path is useful to pump energy into the ambience, but what's missing here is the facility to route the dry input signal to the sidechain. Your options this time around are Phaser, Distortion or Compressor (or any combination thereof), and you can quickly and easily pile them on to create interesting and unusual sounds that would normally take an age to set up. But what makes it a worthwhile inclusion in the collection is, again, the chain of effects that come after the reverb itself. The reverb, despite its broad range of types, sounds mediocre at best, and you'll almost certainly already have better in your arsenal. The results are impressive, particularly at the top and bottom ends. Even the cutoffs are mixed and matched from the source models - the upper mid band actually borrows from three different units, for example. Some of the bands overlap for extra flexibility: you can cut at 250Hz on band 2 and boost at 110Hz on band 1 to create a heavier bottom end without clouding.
MANNY MARROQUIN TONE SHAPER PLUS
There are four bands available, each with five notched centre frequencies and up to 10dB of cut or boost, plus low- and high-pass filters. The high frequency band, by way of example, is modeled on the Avalon, because Manny loves its silky 'air'. The cutoff points and Q shapes have all been lifted from the following units: Neve 1073, Quad Eight (used at Motown), SSL 9080 XL K, API 550B and Avalon 2055. But look under the bonnet and the irreverence continues, for essentially, the EQ plugin has been cobbled together from all the best bits of the EQs that Manny uses. "The EQ plugin has been cobbled together from all the best bits of the EQs that Manny uses"Īfter the unorthodoxy of the Delay and Distortion, EQ at first comes as something of a disappointment, looking like a thoroughly ordinary EQ, despite the hippy print background. The sound is a full-on dirty fizz with no subtlety, and it's always quite a bright distortion, but that's clearly the overall vibe with this whole collection. Attack and Release controls break the distortion in and out gently if you need it. The big central Drive knob applies the actual distortion - the higher it goes, the angrier it gets. There's no mention of frequencies unless you refer to the manual, with the knobs simply ranging from 0-100. Actually, it's more of a tone control than an EQ: high and low shelves, a semi-parametric mid band and a low-pass filter. The Distortion plugin doesn't have much in the way of additional multieffects, but it does include a basic EQ for controlling the shape of the signal going into the distortion engine.
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