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- #Maserati vx1 vocal enhancer generator#
- #Maserati vx1 vocal enhancer manual#
- #Maserati vx1 vocal enhancer series#
Even so, HMX is a useful plug-in that tackles uncommon processing tasks very well. However, it's not clear why Waves couldn't have made all options of both modes available simultaneously. Overall, Bounce mode is subtler, but we found it excellent for adding life to dry acoustic guitar, for example. In its own right, we found that the Modal setting was great for thickening things, due to the combination of its two types of effects.
#Maserati vx1 vocal enhancer series#
It also includes a high-frequency enhancer as an effects send.Ĭlearly, it's a bit of a hybrid plug-in and, of course, you can use it alongside or in series with any of the others.
#Maserati vx1 vocal enhancer manual#
Bounce mode replaces the ambience with a spaced-out delay, with both sync and manual tempo modes. Modal includes an ambience-type reverb with Size and Mix controls and a modulated delay in the form of Spread for adding artificial width. The manual states that it's designed for keyboards and strings primarily, but it's basically a jazzed-up reverb/delay processor that can be very good for all manner of applications.įirst up, it has two distinct modes: Modal and Bounce.
#Maserati vx1 vocal enhancer generator#
The HMX Harmonics Generator is the only plug-in in the Tony Maserati Collection that isn't obviously instrument-specific. Overall, the included reverbs work well, and you could view them as a quick 'try out' option or as one aspect of a more complex mixing setup. The EQ options seemed similar across all modes, but the Air control acted like a dynamic EQ at various points. You'll also find that Contour 3 replaces the Compress option of the other two with an Air parameter.Īgain, we found that each mode affected vocals in a subtly different way: Contour 2 produced the fullest, most natural sound, and Contour 3 the most compressed, for example. VX1 is the vocal processor, with Contour 1, 2, or 3 modes, each of which has its own reverb/delay combo (studio, larger chamber and very small room respectively). Even so, the options achieved everything from a tight, picked sound to a swirly, effected one. We found that, while it was possible to match knob settings between two modes, the results were different, indicating additional stuff going on under the hood. This applies not only to the effects available (Chorus, Vibrato, Delay and Effect Width), but also the dynamics and EQ. GTi is probably the most complex processor in the bundle, with five operating modes - Clean, Clean Chorus, Heavy, Thick Rhythm and Soft Flange - each featuring different sound-colouring options. In use, we found ACG1 produced a thinner tonal response with a brighter reverb, while ACG2 responded with a thicker, heavily compressed and more upfront sound. The onboard effect is a room reverb with adjustable exciter and pre-delay. The EQ is three-band, but notched rather than continuous, and the compression is this time applied using the Input Sensitivity knob.
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Strings and thingsĪCG is the simpler of the two guitar processors, with its two modes (ACG1 and ACG2) offering a slightly different underlying sound. The latter is a one-way ticket to fast attack/slow release dynamics, and you simply wind it up until you reach the desired amount. The former seems to combine both EQ and compression with plus/minus settings. This time, direct EQing control is limited to a Treble knob, with the emphasis being more on frequency-specific dynamics via the Thump and Snap controls. The seven presets (BD, SNR TOP, SNR BOT, HH, TOMS, OH and ROOM) all rely on different combinations of the same parameter set. Most welcome, however, is the input dynamics section, with the input lamp moving from green through amber to red, indicating the amount of compression.ĭRM offers a one-stop shop for all drum kit elements. We found this particular treatment more swirly than buzzy, though, so don't expect it to dirty up a sound. In practice, this makes the B72 a winner for a multitude of low-end treatments. Both of these include bass and treble controls, but Synth mode activates the additional 'buzz' effect. However, it operates in two distinct modes: DI and Synth. So, starting with the B72 unit for bass, things look pretty simple. This disguises, to some degree, precisely what's going on (annoyingly at times), but encourages you to use your ears (which is generally a good thing).Īlso worth noting is that, because some of the plug-ins include stereo effects, they only operate in stereo or mono-to-stereo formats. Across all plug-ins, there's no mention of parameter specifics (frequencies and so on), and they're often presented simply as more/less controls. One control that's common to all units (except HMX in Bounce mode) is Input Sensitivity, which controls the input level and drives the internal dynamics processing, including compression and expansion.Īlso common to all is Output level and the rev counter-style level meter.