iZotope - Trash 2
Price: $263
Web: www.izotope.com
Format: VST,
AU, RTAS
Trash 2 is the recently updated distortion
offering from iZotope, and has been brought in line both visually and
functionally with their other top flight plugins Ozone 5 and Alloy 2. It
includes six modules – Trash, Filter 1, Filter 2, Convolve, Dynamics and Delay
and the processing order can be user-configured within the Graph page.
For
fine-tuning, each processor gets a two-point output filter, pre-gain, drive,
output gain and a mix blend, enabling you to produce sounds ranging from subtle
saturation to component failure
The key distortion module is Trash, which
includes two distortion processors in series. Each processor boasts not only a
vast selection of presets, ranging from basic distortion and saturation to
harsher fuzz and heavy sounds, but also the ability to tailor the sound using a
multipoint wave shaper. Rather handily, this features color-coded ‘source’,
‘applied’ and ‘resultant’ curves, so you can see as well as hear what’s
happening, and for a quick start there are some applied cure presets. For
fine-tuning, each processor gets a two-point output filter, pre-gain, drive,
output gain and a mix blend, enabling you to produce sounds ranging from subtle
saturation to component failure. And that’s not all, as the Trash processors
also operate in multiband mode – up to four bands and each band can have its own
pair of distortion types.
Although Trash 2 isn’t specifically an amp
simulator, its Convolve processor includes 56 amp speaker models with three mic
options (dynamic, condenser and ribbon). But there are also a collection of
more creative impulses on offer, ranging from odd spaces to vowel sounds and if
none of those sound right, you can just load your own audio files as impulses.
iZotope
- Trash 2
The other multiband processor here is the
Dynamics module, which once again lets you select up to four bands. It’s pretty
flexible, and includes both upwards compression and side-chain detector
shaping; plus, you can adjust thresholds and ratios directly in the display.
As noted, Trash 2 has two filters (both
6-band). These are incredibly flexible, with a multitude of curve shapes and
types and, significantly, the option to modulate them either via envelope or
LFO.
Ohm Force – Ohmicide
Price: $127
Web: www.ohmforce.com
Format: VST,
AU, RTAS
Ohmicide has been around for quite a while
now, but with big-name producers like Skrillex and Tom Rowlands giving it an
enthusiastic thumbs-up, you’d be mad not to check it out. It’s a 4-band design
with completely separate controls within each band and three crossover points
to define the multiband behavior. At its core are over 80 distortion types
sourced from 27 different algorithms.
Ohmicide
is a 4-band design with completely separate controls within each band and three
crossover points to define the multiband behavior
Each band includes pre-processing transient
controls (Shape and Body), a noise gate, overall distortion gain, a distortion
variation control (Alt) and circuit bias. The band output is set with the main
Volume slider, and you also get solo, mute and wet/dry mix controls. Rather
curiously, you can also switch any band to mid/side processing. Finally, each
band gets a feedback level with Frequency and stereo Spread controls that
routes the processed signal back into the band at the pre-gate point.
At a global level there’s pre-distortion
gain and a post-processing low-pass filter to round things off, plus overall
input, output and wet/dry mix. Ohmicide also incorporates Ohm Force’s Melohman
system for morphing between presets on the fly.
Each
band includes pre-processing transient controls (Shape and Body), a noise gate,
overall distortion gain, a distortion variation control (Alt) and circuit bias.
Ohmicide’s interface does take a bit of
getting used to, not least because control parameters only appear once you’ve
clicked on a control. Also interesting are the descriptive but idiosyncratic
algorithm names (anyone for Angry Mouse?). You’ve probably guessed from the
multitude of distortion parameters that Ohmicide is capable of a vast selection
of sounds – particularly useful is the Bias control, which can change things
radically with a tiny parameter move. Similarly, the Shape and Body controls
can move things from tight and short to long and atmospheric, with the Body
setting adding some lovely low-end limiting.
At high distortion settings this can all
sound very cutting-edge, and Ohmicide is great for creating in-your-face
sounds. But believe it or not, it’s more than capable of doing subtle as well,
and if you’re looking to add a bit of body to your bass and your usual
compression options just aren’t’ doing the job, this could be just what you’re
after. We do have to admit that the interface is a bit dated, but that’s a
minor quibble when the sound is right on the money.