SoundToys V5 Native Effects Bundle
SoundToys Native Effects Overview SoundToys Native Effects is an effects tray that all the music junkies are crazy about as it contains all the effects that will move you with joy and will transform your sounds into a masterpiece. The hottest selling plugins are right into your wallet. The stakeholders behind these plugins have come up with something that has changed the world of effects upside down. Lets have a look at each of the effects which has been included in SoundToys Native Effects. Echoboy has been considered as a must have plugin for Pro Tools.
Sound Toys Native Effects
Having become hopelessly addicted to their Filter Freak effect on my old Mac, I had been forced to spend a couple of years in cold turkey on XP. It would be like being reunited with an old friend; and not only that, but the Sound Toys range had grown in the meantime. Anyone wanting the full low—down on the filter should revisit our original review from January , which is available on—line at www.
Suffice to say that, nearly four years on, it is still a fantastic plug—in; it remains my first choice for almost all filtering duties, and the output distortion its Analog Mode offers is excellent for adding dirt to drums or synth bass.
Also included in the Native Effects pot is the equally marvellous Echo Boy delay. This too has already been reviewed by Sound On Sound, in April www. Speed offers high—quality pitch—shifting and time—stretching, which can be applied via a graphical interface for maximum flexibility. The other three plug—ins are new to me, and to the pages of SOS. Tremolator models classic hardware tremolo units, but, like Echo Boy, goes well beyond vintage emulation into new worlds of wibbliness.
Phase Mistress applies a similar philosophy to modulation effects such as phasers and flangers, while the most intriguing inclusion is Crystallizer. False Dawns My joyous reunion with Filter Freak got off to a frustrating start. The Native Effects plug—ins appeared to install correctly, but generated an error every time I booted up Pro Tools. Apart from Speed, all the Native Effects plug—ins share a similar interface, with large, retro—style rotary knobs on a black background.
The designers have avoided the temptation to take over the entire screen by allowing the main window to contain only the basic controls for each plug—in. This system allows Sound Toys to pack a lot of control into a small plug—in window, but it can be a bit fiddly, and in the initial Windows versions, the interface is frustratingly slow to respond to user input. Sometimes I also found that graphical elements went missing from the pop—up windows, usually when switching back to Pro Tools from another application.
Sound Toys are aware of the GUI issues, and promise that they will be fixed soon. Fortunately, in most real—world situations you can find something that works without venturing too far from the main controls.
What comes out has the same tonal quality as what went in, but frozen into shards of continuous sound. Some of the presets, for example, can take a dynamic or even percussive signal such as an acoustic guitar and turn it into something resembling a synth pad. Others range from almost—conventional delays to strange, pitch—shifted swoops and gurgles.
Audio coming into Crystallizer is sliced up into chunks at a rate determined by the Splice control, and these chunks are pitch—shifted by up to four octaves in either direction. They can also be reversed, delayed and filtered before being sent to the output and, optionally, fed back into the input via the Recycle control.
What you get out of Crystallizer depends above all on the settings of the Splice and Pitch controls. Small Pitch adjustments can be used to create useful, subtle thickening and doubling effects, but things get weird fast when you take the Pitch value into the hundreds or thousands of cents. Pitch settings that correspond to whole octaves or fifths often deliver pad—style sounds. One of the neat features of Crystallizer is that automating controls such as Pitch and Splice really works, without causing horrendous glitching.
In conjunction with the Threshold setting, and Attack and Release controls within the pop—up window that comes up when you hit the Tweak button, this allows you to change the level of the wet signal to correspond to, or complement, dynamic changes in the input signal. At its centre position it does nothing.
Move it to the right and the wet signal is attenuated until the input signal falls below the Threshold, so you can create effects that pop up during gaps in the source signal. In the scheme of things, however, that is nit—picking, because Crystallizer is a fantastic plug—in that manages to be quite versatile whilst having a definite character of its own. Well, it would be, except that Phase Mistress is anything but a simple phaser.
Behind its simple facade lurks what must be the most flexible and detailed digital implementation of this effect ever created. The basic idea of a phaser is straightforward.
When recombined with the dry signal, this phase shift results in cancellation at some frequencies and reinforcement at others, an effect known as comb filtering.
When a modulation source such as an LFO is added to modify the degree of phase—shifting that is going on, the comb filtering moves up and down the frequency spectrum, creating the swooshing effect we all know and love.
Phase Mistress not only incorporates all these refinements, it adds some of its own. No fewer than 24 stages of phasing can be implemented within the plug—in, and unusually, you can have odd as well as even numbers of stages. On top of that, you can modulate not only the centre frequency of these peaks, but other aspects of their resonant quality too, and you can use a wide range of sources to do this.
Sound Toys have used these low—level controls to set up a number of different phasing Styles, many of which are intended to emulate classic analogue phasers such as the Mutron and MXR Phase The idea is that once you choose a Style, the high—level frequency, resonance and modulation controls function like their counterparts on that particular piece of hardware though there are also Styles that are new to Phase Mistress , making it trivial to access a wide range of old and new phaser sound characters.
And once again I can only report that Phase Mistress delivers the goods. The only quirk I ran into was that sometimes the output seemed to leap in level for a few seconds when I switched presets. The Mighty Wobble Tremolo, in principle, is an even simpler effect than phasing: As any guitarist knows, though, no two hardware tremolo units are created equal.
From the gentle wobble of a Vox tremolo through to vicious, choppy auto—gating, every variation in circuitry generates a different modulation waveform, and hence a different sound. The Tweak menu in Phase Mistress provides access to all the low—level parameters that are used to set up phasing Styles.
The Shape editor can store its own presets independently of the rest of the plug—in. Few analogue circuits generate mathematically precise sine, square or triangle waveforms, and the Shape presets bundled with Tremolator include a number modelled on the real—world output of popular designs such as those built into Fender amps and Wurlitzer electric pianos.
Rate and Depth modulation parameters can be set up in such a way that modulation is triggered only when the input signal exceeds a user—defined Threshold; so you could, for instance, have slow tremolo on the quiet passages that speeds up on the louder parts, or tremolo that only appears when the signal gets loud. You can even have the rate go so high as to put the LFO in the audible range, yielding lots of fun ring—modulation effects. The modulation parameters have their own Attack and Release parameters to let you determine precisely how the effect responds to level changes in the incoming signal.
Not only can you define the exact wave shape Tremolator uses to modulate your audio, you can also create rhythmic patterns.
That, however, is not the half of it, because Tremolator goes way beyond conventional tremolo, thanks to its Rhythm editor. You could, for instance, set up a two—bar loop with a tremolo that pulsed on every beat in the first bar, but ony half as fast in the second bar.
Or you could pick out the third and eighth beats in a measure. Or you could have a tremolo that becomes heavier as the measure progresses.
The Rhythm editor is identical to the one in Filter Freak: You can save your own Rhythm editor presets independently of the rest of the settings. The whole process is fairly intuitive, but is an area where the unresponsive GUI of the current Windows version is particularly frustrating. Once again, this is a plug—in that combines a convincing repertoire of retro sounds — it also features the Analog Mode output stage, for added grit and warmth — with a head—spinning array of additional possibilities.
Summing Up In use, one thing you notice straight away about Sound Toys plug—ins is how much thought has gone into creating the presets. The other thing you notice before long is that these effects can be pretty CPU—intensive. The company say that the Windows versions are not yet as highly optimised as they might be, so hopefully we can expect some improvements in this regard soon. In fact, I would go so far as to say that Phase Mistress and Tremolator pretty much set the standard to beat as far as their particular effects go.
Speed is a very handy bonus for Pro Tools users, while Crystallizer is one of those rare plug—ins that manages to be both versatile and distinctive at the same time. Sound Toys Native Effects is a rare exception. All these plug—ins are of the highest quality, and the five real—time processors included here complement each other beautifully to build a really powerful armoury of effects. Sound Toys Native FX v3.
Tested with Pro Tools M—Powered v7. Alternatives There are no plug—in bundles around that directly match the Native Effects bundle. They are, however, much less flexible, and the entire Eventide range is TDM—only. There are, however, some nice delay plug—ins around from the likes of PSP and Ohm Force, which would make interesting if not precisely similar alternatives to Echo Boy.
Speed operates in one of three modes. Calculator is similar, except that it will do the maths necessary to make your changes fit a tempo change or key transition.
The most interesting of the three modes is Graphical. Simply put, you click with the mouse to add break points to two graphical envelopes, one controlling pitch and the other time.
Features of SoundToys Native Effects
Shares Our Verdict If you’ve toyed with the idea of picking up this terrific bundle, then now’s the perfect time to take the plunge. Pros Splendid sound quality. Well designed saturation plug-in. Super-flexible autopanner.
VIDEO: SoundToys Native Effects Free Download
SoundToys Native Effects V4 is a program developed by SoundToys Inc. The software installer includes 5 files and is usually about MB (75,, bytes). Soundtoys Native Effects V4 SOLD NI The Mouth £ NI Retro Machines mk2 £ Lexicon LPX Native Reverb £50 inc transfer fee. SoundToys Native Effects Free Download Latest Version for Windows. It is full offline installer standalone setup of SoundToys Native Effects for 32/64 bit. MB of free space required. Processor: Intel Pentium 4 or later.