Phoenix II uses 32-bit floating point math and has a lower noise floor than the original release.
#CRANE SONG PHOENIX DOWNLOAD PRO#
Phoenix II runs both NATIVE and DSP on Avid’s Pro Tools 10 AAX format. When the input trim and output trim controls are at 0 dB, (no change in gain) and no tape process is being added to the sound, the plugin is bit accurate, meaning the output exactly matches the input. This can be useful on material that is hitting close to or at digital zero and on material that has a low recorded level.
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The input trim can also be used to prevent clipping in the rare cases where clipping may be a problem and bringing up the level of a track for an increased amount of color.
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A level control determines the amount of Phoenix II that is integrated into the audio signal and an input trim determines "how hard you hit the tape." Because the DSP process is level dependent the input level trim control has been improved and an output trim control has been added. Gold is the position where the color is approximately flat in frequency response, with Sapphire being brighter, and Opal being a warmer tonality. The type is selected with a switch for easy comparison between the types and the brightness is also selected with a switch. Phoenix II has five different tape-analog characteristics. The Phoenix II process not only incorporates the nonlinear saturation characteristics created by magnetic tape itself, but also includes the interrelation of an analog tape recorder's record/reproduce electronics and equalization curves. If you have any specific questions just shout.Designed to emulate the unique properties of a magnetic tape machine It's definitely one of my top five plugs for HD. I do know that I prefer to mix with it than without and I find it helps in getting a mix to gel.Īll in all I don't think it's the silver bullet that some feel it is (I don't believe in those anymore) but I am happy I have it and feel that it is well worth the asking price.
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I started recording on ADATs about 9 years ago so I'm a digital kid. It's sound varies as you hit it harder.Īccording to Cranesong it is designed emulate the sound of analogue tape, I have absolutely no idea if it suceeds in that regard as I have no experience with good analogue. I turn the knob to about 9 or 10 o clock and build the mix with it. JON THORNTONgets all cosmic with talk of Luminescent, Iridescent, Radiant, Dark Essence and Luster. In a rock mix I will insert a Phoenix accross the mix bus and set it to Luminescent which is the most neutral sounding process of the five available. Crane Song Phoenix It’s one for all those Pro Tools users who have never even sniffed analogue tape it’s a tape emulation plug-in. It seems to pay its biggest dividend when you take the mix out of the studio and onto something like a boombox - it seems to help the track jump out of the smaller speakers. I rarely use it on acoustic instruments such like guitar or piano - it seems to add an obvious distortion that I don't like (other's may disagree). The Phoenix is very useful on anything on the rock and roll side of the fence such as the obvious drums, bass, electric and vocals with attitude. I hear a sort of strident quality in the mix if I use the inflator on more than a few sources in the mix. FWIW I prefer it to the Sony Inflator (which you may have experience of). It's quite seductive at first and I used a little too much of it on my first few mixes but I think I've settled into a groove with it.