Nomad factory magnetic pdf

Two of them, the limiter and stereo imaging widening functions are commonplace. Their presence here is a convenience but nothing earth-shaking. They work just fine in my estimation and nothing further need be said.

The third function is a tunable sub-generator. So are we all clear? As best I can tell by looking at the output of Cosmos in the Span spectrum analyzer, the sub-bass processing involves a resonant filter, the cutoff of which is specified by the sub-bass-tuning control and the resonance by the sub-bass drive. So, for me this all is of little value. But now we get to the final function, the harmonic enhancement capability. This is where Cosmos shines and proves it worth entirely.

We have two controls, Bottom Drive and Exciter Drive, that dictate the amount of sizzle added to two bands. One thing for which the Cosmos designers deserve credit is their restraint. Not so Cosmos. And the factory presets not that such are really needed on a device with so few controls are actually practical and usable as is. What a concept! But when used at the right times, it can certainly earn its place in your plug-in collection. Echoes is a delay unit claiming to offer the warmth of vintage delay effects.

In the grand spirit of Nomad Factory interface design, the single user panel is a tribute to the electronic gear of yesteryear. The interface could hardly be more straightforward. A stereo spread control is situated between the input and output level knobs.

There are three knobs in the center row. What these control depends on which model device is selected. For the PLX-1, we have wow-and-flutter and tube drive. In all cases, the rightmost knob is the echo level.

Do they sound like the originals? Of one thing you can be certain: each of these options has a distinctive sound. The PLX-1, for example, can easily be overdriven. In fact, all models but the ADM-2 produce a bit of distortion that is difficult to suppress. But for those who get excited about a delay that offers distortion in the feedback loop, Echoes may totally be your cup of tea.

Although I found that I could coax similar sounds out of both, my preference would be for the BT Oilcan, which did not go into distortion no matter what I tried with it and yet it sounds pleasantly antique.

You may want the ability to coax distortion out of a delay, in which case your preference would probably be for the Echoes implementation. How many of you have actual hands-on experience with multi-track studio tape machines? And if most of us would not know that, how many of those who listen to our music would?

Magnetic's non-specific labelling meant we had to spend some time learning how its elements sound. First up, the EQs are all gentle shelf designs positioned at different frequencies. The boost and cut isn't excessive, but there's plenty here to add weight to a sound.

We particularly like the brilliance setting for adding slap to kick drums, and the detail setting for adding mid-range edge to pretty much anything that needs it.

These are very much 'sweetening' curves, though, rather than surgical ones. Lower tape speeds deteriorate the sound, as they should, with the two slowest it goes right down to 1. The most useable speeds are 15 IPS and 30 IPS, with the former offering a fatter, mid-range sound and the latter a more polished, hi-fi sound. It's not possible to bypass the effects of the tape speed simulation, and even with the colour and saturation settings zeroed, the sound does change slightly.

It's also worth saying that Magnetic lacks dedicated input and output gain, and although you can activate the Boost option to drive the signal, this also engages the limiter circuit, which may not be what you want.

The saturation and colour options cover similar territory, but their sound is different. We were particularly impressed by the way tape colour could create pumping overheads on a drum kit and popping compression on synth bass. We also warmed to the general thickening and brightening effect of the saturation. The least impressive aspect is the mastering limiter, which feels out of place and unnecessarily hogs the VU meter.

Overall, Magnetic has much to commend it, and while it is less refined - and much less subtle - than UAD's Studer A, it does sound good and is a reasonably priced, creative plug-in.

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