I agree Lee…Blue3 is my newest favorite at this time. Not giving up B5 or VB3, but am really enjoying what I am getting out of the Blue3.
Wow I can see why! Sounds lovely and very natural !
I haven’t pulled the trigger on Blue yet. I probably will at some point. I have to admit that with tweaking it’s capable of a lot more then the demos they made for it would indicate. It’s still not sitting in a mix the way VB3 does for me yet. It really bugs me that they have such an insane level of tweakability over the organ but not the Leslie which is where the sound really develops. And the basic Leslie model isn’t too bad.
Wow, Ultraverb really is nice, I’d never tried that one before. Very smooth, great for big, realistic reverbs. Oh well, I wasn’t going to retire anyway…
There is a very nice set of presets made by Synth-Presets for the UltraReverb that I really enjoy as well.
They also make two collections of presets for Black Hole and several other reverbs. The Black Hole ones are superb.
I have the Extraordinary Spaces 1 and really like it. Didn’t know about vol 2.
Excellent suggestion. Just bought it, thanks!
O.k., here my latest “discoveries”:
Blue 3 (cudos to @Corky), my latest Hammond clone so far. For me the perfect complement to B5 which to my ears is the closest emulation to real Hammonds if we talk about plugins (in terms of hardware I still swear on the HX3 from keyboardpartners - but B5 is damned close). I use Blue3 mainly for all the hammond-sounds that never have been created by using a real hammond (f.e. the “famous hammond-sound” on Davy`s on the road again, which neither was produced nor played live on a Hammond afaik).
Thanks for hinting me to Seventh Heaven, @dave_dore. Got me this little gem during latest sales period for 43€. I really like the responses taken from Briscanti M7. Even though they are static in comparison to the real thing (it still is a convolver), they sound really diffuse and organic. But what finally convinced me was the human interface: one central dial makes available all sorts of standard reverbs without fiddling around with a gazillion of parameters – great (at least for me).
A plug I shot a while ago but never used so far: KLC M1. During last weekend I “rediscovered” this bread and butter machine when I was looking for some flute sounds in my “high end libraries” without success. Just before giving up I gave M1 a chance and – voila – 100 points! So I have to say: maybe one of the most underestimated plugins and even though several years old a very good sound source (and not only for bread and butter).
The M1 is huge! A lot of stuff in there! But a nasty GUI with very small controls. Nearly impossible to control with a touchscreen!
Just downloaded the Blue3… I’m impressed! It sounds out of the box very very nice… not to compare with the VB3 in my ears.
And again: D16 plugins all over! But some of them (f.e. the phaser) eat up some highs in the tone. So you’d need to put an EQ behind them.
Also I now have DIVA running. Puh! Also a stunning plugin which runs on my NUC i3 not that bad! I have several instances of it running in some songs at the same time… flawlessly. Of course I just use the “draft”-quality which is enough for me in this case.
Quick update for anyone following this post: The M1 and the Wavestation are on sale right now $24.99 each (I just bought them) but the link on this page is broken. Go to http://www.korg.com/us/products/software/korg_collection/lineup.php for the line-up and description of the synths but at the top of the page is the “Purchase from the KORG Shop” button.
One advantage of the current Korg migration away from KorgUser.net is that my licensing of M1 and Wavestation has gone from Steinberg eLicenser dongle (which I was never going to take out of the studio, and risk losing it!) to software authorisation, which is allowed on several machines, so I can finally think about using them live. I love the Wavestation wave sequencing concept!
My situational is kind of different since I do this for sheer fun, but I am a former audio engineer and very peculiar about the quality of my sounds. Unfortunately, I could not afford to throw a lot of money down on VSTs or VST hardware. I had been using one of the archaic SM Pro V-Machines (which I still like), very stable, but, … it lacks sound quality and CPU power. Cantabile is much better (even though on a PC laptop), and it far outperforms any DAW or VST host I have worked with (especially in the area of latency).
Back to VST’s, I have been using AAS Lounge Lizard EP4 for my electric pianos and GSi VB3 for my organ, both which give a lot of parameters for controlling/modifying the sound. I also currently use AAS Ultra Analog and SonicProjects OPX II Pro for my synths. If I was actually creating/performing electronic/EDM music from scratch, I would probably invest in a more sophisticated VST such as Avenger or Falcon, but the above VSTs have served me well for what I do, and the cost at the time was like $50 each to upgrade to the full or pro versions.
Lastly, I am primarily a sax player who always dreamed of being a one-man horn section, so I am running a Shadow 4001 tranducer off my sax mouthpiece which drives a Sonuus i2M Musicport pitch-to-midi converter, which then controls GSi MilesTone trumpet VST. MilesTone is an older VST and can be unstable or not work for some people. In my situational, it has always worked well, it works in Cantabile, and I chose it because it can do really good screaming trumpet, and sounds great when EQ, reverb, & delay are added in the chain and tweaked properly.
I got mine when 32 bit was still supported.
Although the Wavestation didn’t cause a stir the M1 certainly did.
At the time I was poor and stuck by my Juno 6 and wouldn’t buy another synth unless it was midi compliant.
Now I have the vsts for both and the Juno6 and Yamaha DX7 (both dexed and PLG150-DX . Since my ears are stuffed and have tinnitus I am like a pig in sh*t with cantabile and plugins.