It is recommended because the apprehension from the old version is also cheaper.
It is no exaggeration to say that the old and new versions of Goliath are completely different. (Which is better or worse, it can be used for different purposes)
So it feels like you can get a new plugin at an Apgre price!
(Rather great old version is no longer available)
The new Goliath has a good analog modeling chain, and I personally seem to have upgraded for this.
However, the CPU load was high, and there was a load of about 7% to 4770% in the environment of Core i3.5-28K 38GHz. (TUBE has a particularly high load)
I think it's a good idea to play drums first, render them, then slice them, or chop them.
The upgrade to Loc-Ness 2 is $ 11 and the upgrade to Goliath V2 is $ 17.
Please note that FL Studio users will crash FL Studio when changing Obasan unless Fixed buffer is enabled.
Overview of Loc-Ness 2
The newly installed Advanced DSP has further evolved the popular plug-in.In addition, oversampling up to 8x is possible, achieving a more analog sound.
What can i do?
Drums ... The most important part of the mix that determines the quality of the track.For decades, professional engineers have combined compressors, preamps, EQs, and saturations to create a striking sonic style. Loc-Ness is more than just a compressor or EQ, it's a mysterious plug-in that brings drum-friendly controls and colors to your workstation.
This is a dedicated channel designed to handle individual drum hits, room sounds, and the entire drum bass.
Equipped with four carefully modeled analog signal paths, the "Crust" control delivers light sounds to crunchy saturation. With Smash “, you can limit and sustain the sound and turn it into a pleasing“ Splat ”or“ Thrust ”.
The two filters can be narrowed down to the band you want to process and the rest of the sound is left alone.Dedicated wet and dry controls allow you to fine-tune the details of the sound in your head.Great for recording acoustic drums as well as electronic drums.
With this processor, you can quickly and easily create pleasing drum sounds, no matter what the source. Loc-Ness can also be creatively used for other sounds such as bass, guitar, piano, strings, vocals and other percussion.
Crust (saturation)
Effect: This control increases the saturation (tone color) drive.
Select the saturation type from modes 1 to 4.
Smash (limiter)
Effect: Dialing this effect further will sustain the signal heavily.The signal flows serially from Crust to Smash.
This process is similar to the "all button in" mode of the 1176 compressor, but smoother.
Filter
The low-cut and high-cut filters can be zoned into the frequency band you want to process and the rest of the signal can be left alone.This is to ensure that crust (saturation) and smash (limiter) apply only to this range.
Pre-filter.
A low-cut and high-cut primary filter that affects the signal entering the saturation and compression sections.Therefore, the pre-filter can change the effect of “crust” and “smash”.
Great for removing bass and coarse treble amplified by Crush “and“ Smash ”.
Post filter.
This section has a full range of low-cut and high-cut filter sections to shape the sound after a crash or smash.This is especially useful when blending dry and processed signals.
Phase
Holds or inverts the phase of the wet signal.
Trim control
A control that attenuates the dry and wet master mix.
ア タ ッ ク
It starts the compression attack very quickly and instantly "crushes" the sound. The Attack-off setting lets you pass through the first transients before compression is applied, retaining low ends, kicks, etc., and shattering the rest of the spectrum.
Overview of Goliath V2
Saturation/Dynamics/EQ
Goliath V2 features 4 analogue modelled processing chains featuring ALLOY (Nickel, Iron, Steel based Transformers), TUBE, TAPE & VINYL with a drive control plus a FET based envelope and a 3 band EQ.
This is a truly revolutionary and “analog” sounding tool. Be prepared to be pleasantly surprised!
What's New?
Goliath, Tone Empire's top-selling plugin is back in a brand new avatar with a completely new sound engine and new features.
This plugin now has 4 types of Saturation models – Alloy, Tube, Tape & Vinyl with Drive. Tone Empire now use their Advanced DSP models featuring their own proprietary “Multi Convolution” & Component Modeling Technique to simulate “Real” hardware chains of analogue gear Additionally, the plugin now features a full FET compressor in its envelope section and a 3 band EQ plus a Low Cut Filter.
All these engines make Goliath V2 a great sounding & versatile channel strip with multiple colors of sound processing.
If you love that vintage analogue “goodness”, then Goliath V2 is for you!
Analog Modeled Processing Chain Section
In order to develop Tone Empire's fantastic and realistic sounding analogue chains, Tone Empire used multiple samples of hitting the gear at different levels using Tone Empire's proprietary “Multi Convolution” & Component Modeling Technique.
Therefore you actually get the “REAL” sound of the gear!
The signal chain in Goliath V2 is: Low Cut EQ> Analog Processing Selector (4 choices)> ENVELOPE Section> EQ Section.
Analog Processing:
ALLOY
This is an analog processing chain featuring the famous British 1081 sound which has characteristics of its transformer made of Nickel, Iron, Steel.
This gives you a taste of that clean silky analogue processing.
TUBE
The Tube chain is modelled using a modern / classic valve processing chain with an AIR circuit. An immediately pleasing sound that will bring 2nd order harmonics to your material.
TAPE
Here Tone Empire have used the ATR – 700 Tape Recorder at 15ips to capture that warmth and compression of Tape. Immediately hear your transients being “warmed” up and also get third-order harmonic saturation.
VINYL
This one features an analogue mastering chain going to a Neumann vinyl cutting machine and multiple IRs sampled from the dubplate. Finally, get your record to sound like a “Record”!
More Features: More Features:
- DRIVE Control: This controls lets you “drive” the analog chain selected for its respective saturation characteristics. The levels remain the same, hence there will be no need to keep reaching for that output control. Go from a light touch of the analog chain to full-on driven saturation by hitting the signal hard.
- Env-EQ MIX: Use this control to dial back the amount of Envelope and EQ used by parallel mixing in the signal from the analogue chain before the Env-EQ sections. This acts as a kind of dry / wet control for the ENV-EQ.
- OUTPUT Control: This lets you control the gain of the final output of the processing from -inf to +10 DB. It's helpful when compressing a lot and you need a signal boost at the end, or for cutting back the levels.
Envelope Section:
ON / OFF Switch: Engage or bypass the Envelope Section.
The Envelope Section features an 1176 style FET compressor with controls for Threshold and fixed controls for Ratio, Attack Time & Release Time. The Attack, Release, and Ratios were carefully chosen to be applicable to a vast variety of materials. Drums to Pianos or Vocals , you can throw anything at this compressor and it will lightly control or aggressively grab the sound!
- Threshold: Controls the threshold for the Envelope to kick into action.
- Attack: Attack: Preprogrammed fixed Attack times going from Fast to Slow.
- Release: Preprogrammed fixed Release times going from Fast to Slow.
- Ratio: Fixed ratios ranging from 2: 1 to “ALL Buttons In” (Smashing ratio).
EQ Section:
ON / OFF Switch: Engage or bypass the EQ section. This Section features a 3 band Eq and a low cut filter.
- Low Cut Filter: First Order Low Cut Filter ranging from 20Hz to 60Hz.
- Low EQ: A peak filter Eq set at 65 Hz for boosting or cutting the low frequencies by +/- 10 DB.
- Mid EQ: A peak filter Eq set at 1.5KHz for boosting or cutting the mid frequencies by +/- 10 DB.
- High EQ: A peak filter Eq set at 15 kHz for boosting or cutting the high frequencies by +/- 10 DB.
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