It’s cool, making Youtube videos, Vimeo Videos, Tik Tok Videos, Daily Motion, Facebook, Instagram and what have you videos. And yet products like Bandicut, though great get expensive to install on many pc’s.
This windows only product uses a few tricks and batch files getting the most out of the open source ffmpeg and VLC Media Player products. FFmpeg can fall short when merging video, and VLC is not everything in the way of control, but the two together; hidden inside the powerful dspplug-joiner.exe product are mighty.
What you do, is make a folder; it can have many files inside; but make sure there’s only these mp4 files: file1.mp4, file2.mp4, and file3.mp4
These are the videos that will be merged together in sequence. But if you only need to merge two videos, just have file1 and file2. Moreover, say that you also wish to replace the audio. Merely make stereo aac files the same length and name them the same, and they will automatically be added without any issues of latency.
Like this: file1.aac, file2.aac, file3.aac
Just want to replace file2.aac? Or only need to update file1.aac? NP. Just place the dspplug-joiner.exe file in the folder and double click it. It will do all the work and clean up after itself, leaving a merged.mp4 file when it is done.
There’s never been anything like the Omega Width. It uses auto makeup to ensure that the sound after adding stereo width has the same gain. Though, to prevent clipping it does prevent intersample peaks from going over a true peak of -1 dBFS. The result is less saturation.
The DSPplug mid side plug-in is a surefire way to add the mid side technology while also preserving most of the phase of stereo that is stemming from the original sample’s stereo signal.
This means that you can use mid side in such a manner that allows you to reduce distortion by up to an incredible 35% (maxed side). With the additional volume control available, you’ll be able to use mid side to control the seeming distance / closeness of a sound without having to use a great deal of filters.
The DSPplug omega mid side, constructed and designed by king OZ records is probably the most professional sounding, offering a true-to-life color that’s indicative of the most expensive analog gear that is rarely for sale in any decent condition that is.
So often there are supposedly modern mid side techniques, but they sound as if they’re the product of either fake, smooth vector designs, or: They sound like they possess a harshness, without a sound and texture that can be compared to something tactile; making yet another effect in an already growing fx chain necessary. Escape monotony with a product designed and constructed by an individual mixing music on a regular basis, producing, researching and self educating; an individual that is in-touch with the audio world and willing to live up to the most enduring of standard.
The DSPplug Smooth is a one of a kind. A ceiling limiter that attempts to deal with true peak limiting, the smooth is the answer to the question “Is auto-makeup absolutely necessary?”. The answer: not really. And the only reason why, is alternative math with the same result.
The DSPplug Smooth promises to be an elite experience for those serious about making music fast. Whether it comes to reducing punch from a vocal, or it is about making a sound blend well into into the track so that it is not affecting the overall threshold, the smooth is reliable and fast.
This new version is a surefire limiter which has a series of limiting algorithms that notably, will ensure a ceiling cannot get get any higher than specified. However, you’re required to add gain behind this limiter (most likely with an EQ) to make it meet the desired ceiling threshold. This is due to exponential compression enforced by percentile.
It’s really simple, sometimes either effects or phase causing processing will be too resonant and be causing modulation. Especially like in the case of reverb. Turn a reverb effect effect into a linear phase one with this effect or just tame phase in general by choosing the dominant side (which will automatically become BOTH sides) with the DSPplug Omega PhaseBGone.
You often will want to add a little bit of automation, and after you’ve mastered; you do not want to add any volume but you wish to take away.
Here’s a simple tool that offers that capability which also doubles as being able to very simply improve the presence of a vocal or a set. You can change the frequency from 1000hz to 4500hz and, using an RBJ first order peaking filter (that has been highly optimized so as to not make noise while automating) you can improve the sense and sound of presence.
You can very easily make it sounds like the speaker is directly adjacent to the microphone with this tool.
Furthermore, using a physical principle coined as rarefaction; a method that mimicks the act of compression breakpoints and bas convolution and tenacious nature; rather than a thickened bass (as has become popular in this day and age) you will instead recieve a very perpetual thin, realistic bass that is carefully designed so as to ensure that the bass is the last thing you hear. Just like in nature.
This entitles the end user to use this plug-in on every trck and channel so as to not just add a little presence, automation and placement; but also a means to add a smooth, natural sound that is the product a hard working DSP engineer’s set of working theories put into practise.
[sc name=”expand”]The DSPplug batEQ was made to address the issue: why is the variety of sound Rescue MkII so good, and how could it be made into an EQ? Obviously, the rescue is low CPU and it is formidable; but not an EQ and 32 bit only. This EQ does most of the same that you expect from Rescue MkII, but with a rock solid EQ that will please.
[sc name=”expand”]The DSPplug freq3 is the answer to the desire that there could be a fast, reliable and well designed equalizer that could work as well or beside the fruity parametric EQ2. The fruity parametric EQ2 has been a staple of the industry, providing speed and reliability. This eq intends to match that versatility: But, I tried to cater the sound design to those thrillseekers hoping for hollywood smoothness rather than grit.
Expect speed, and versatility. Please contact if there is any technical issues I will respond promptly and I will try to fix any issue that you may encounter personally.
There’s a built in brickwall limiter with some feedback protection. It will overload the release if you push it to hard but I designed it to try and bounce back. it’s much like hardware in that respect. I will point out however, for the time being it is merely a superficial limiter. Now, in the days of True Peak limiting there are new standards of reduction, while as this limiter meets old school standards of only 0 dBFS. It sounds nice, though there will be some modifications to make it more recent, there really is no way to achieve the same superficial “gloss” and “character” while using the newer series of limiters. Both style of limiters in tandem would seem the prudent and professional choice.[/sc]