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What do you do with all the synths you don't use that much?

I mostly do this.

"Keep them, but have a setup that focuses you in on a handful of plugins per project."

I rarely resell stuff.. I think it is only one plugin I have ever sold, can't remember which one now, and i have sold a few Maschine Expansion packs that I had more than one copy of.

Who knows maybe one day they will come in handy.... but yeah I use VST collections in Cubendo and keep my top prime time go to's there.... the others rarely get touched unless I am testing.


Default are all of them, Steinberg's default.

Favourites are the ones I like for the most part and have had any chance of me using them at one time or another, though in Favourites there is a B list which are less likely to be used.

Beta is for stuff I beta test and want to have quick access to.. when they are released, they come out of there and depending on how much I like them, determines if they go into Favourites, Essential, Prime Time or all three or none of the three.... There have been a few that reach in Prime Time before they are even released to the public.

Essentials are a narrowed down version of Favourites, stuff I like a lot, and I created it because I almost always have unreal deadlines and need to find stuff quickly and, the what will I use for this part, plugin a, plugin b, plugin c etc just wastes too much valuable time..so it needed to be narrowed down even furhter.

And hence, Prime Time are an even more narrowed down version of Essentials, stuff I use that have to be very stable, great workflow, and of course, must sound great..

I have often thought of doing an even more curated list that I had I planned to call First Call... my crème de la crème, but everytime I start doing that list I keep adding and it defeats the whole purpose of being able to work quickly by having less choices :), so I have abandoned that idea.

rsp
 

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How is Linux working out for you? I've often considered doing the switch but usually too chicken to make a big switch like that. Perhaps I'll set up a secondary system on a laptop or something and try it out.

Are you using Reaper as a DAW?


I generally keep everything in my template and deactivate what I'm not using at that moment. That way it's ready to go when I need it. One never knows when a particular synth might come in handy. I was doing a small little commercial and what they wanted I could only get with Super 8 (fun, light almost 80's sounding). I'm glad I had it because every other synth I tend to use is heavy, dramatic, analog beast mode by default.
On Linux you can install some windows plugin with Wine and Yabridge. I have used Reaper, but it appeared it doesn't handle well Kontakt (lot of crashes), so I switched to Bitwig just to try. It's a new world, and rock stable with everything, including Kontakt. I'm now a happy Bitwig user, but I really miss a tempo map feature, and there is no workaround possible in Bitwig. I record sometimes thing on Reaper, do my tempo mapping, export midi, and Bitwig import the tempo automation with the midi part. But it's tedious, because Linux doesn't allow drag & drop from the file explorer, I have to do it in the Bitwig file exploree (dive in the menus...)
 
Since there are so many different authorization and license transfer schemes out there, and it's not always clear how, or even IF, a software product can be sold, I've just always operated under the assumption that they CAN'T be re-sold. So that keeps that part of the question simple.

But as to whether to keep everything "on deck" and ready to go, it's not so clear.

When I buy a new product I try to give it a quick bashing-on, partly to verify that it does in fact work and make sound, doesn't crash the computer, doesn't take up 90% CPU, etc. I have a "new product testing" Logic template that has a couple dozen audio and instrument tracks set up, with a sort of dummy song that is basically four sections of music - slow+evil+floaty, dark+pulsing+minimal, big+aggro+loud, and orchestral-ish. Each section is about 32 bars long with markers to delineate them. All tracks have my usual processing, stem routing, and stem effects, and when I want to try out a new compressor or EQ, I will insert it on the main stereo output, and then solo tracks one at a time so I can hear how each different sound behaves through that plugin without inserting and deleting that plugin on each track one at a time, which makes it very quick.

Having this "tester template" on hand also makes it quick to see how a new synth plugin or sample library will sound "in context" with sounds I use all the time, in a piece of music that sort of sounds like what I'd be doing if I were actually working. I can compare a new synth pulse to my previous champion, hear new staccato strings against the current favorites, and hear how the new guy will behave when it hits my usual reverbs and stem processing, etc. Very helpful.

But that doesn't always tell the real story.... a new product might sound promising in this test mode, but turn out to be weak sauce when it comes down to the real deal. So I usually keep the new guys on deck until I actually try to use them on a cue. That's when I can really see if it's a keeper or if I was fooled (again) by flashy UI and Black Friday discounts. So when I try for the first time, for real this time, to actually use the thing, and it turns out to be either too similar to other (better) products, or it just plain sucks ass, then I might move it to the disabled pile.

Inside my HD>Library>Audio>Plugins folder, I've made duplicate folders for Components / VST / VST3 etc., and named them Components (disabled) / VST (disabled) / VST3 (disabled) etc. If I deem a plugin unworthy of cluttering up my DAW then I'll manually move it to the appropriate "disabled" folder. That way it's still installed, still authorized, and if for any reason I want it back I can just move it back to the active folder and reboot my DAW - but as long as it's in the "(disabled)" folder, it won't be scanned on DAW startup and this can speed up launch times a little.

(I keep a shortcut to my Plugins folder in the Finder window sidebar so I don't have to remember where it is and go digging each time. I also keep shortcuts to Omnisphere's STEAM folder and the Avid Plugins folder there as well to save time.)

I generally don't use the tick-boxes in Logic's Plugin Manager to disable plugins for this situation - I only use that as a temporary method of disabling something that seems to be messing with me, and keep it "on deck but disabled" until I can sort out the problem. The "disabled" folder is the "back room storage" - equivalent to unscrewing a piece of gear from the rack - while the tick boxes is more like a power switch; like "that thing is causing hum, turn it off for a minute while I sort this out".

I also go to excruciating lengths in Logic's Plugin Manager window to give every plugin a new, user-defined Long Name and Short Name. This helps in a number of ways:

1 - If a plugin has NOT had user-defined names set then that means it hasn't been auditioned and sorted into the correct user folder, so I can sort the table by Short Name and all "un-dealt-with" plugins will appear at the top of the list. Very helpful when I've been installing a bunch of late-night purchases and not auditioning+naming them as I go.

2 - I can tweak the Short Name (which is what is displayed in the little tiles in the Channel Strips) so that I see something that makes sense and is visibly clear at a glance, instead of letting the computer decide how to scrunch up a long plugin name so that it will fit. I can use ALL CAPS for some plugin names that I want to be able to locate at a glance in a crowded mixer view, and make up my own names instead of things like "6-Band EQ" or whatever.

3 - I can tweak the Long Names so that things will sort in a sensible manner in the plugin menus. (The Long Names are what are used in the plugin menus, the Short Names are only displayed in the Channel Strips) - and again, I can use ALL CAPS to make some plugins stand out in the lists. For instance, I have a few emulations of things like Neve 1073, API 550a, Pultec, etc. And of course they all have silly / stupid names from the developer. So I rename them in a manner that will cause them to sort together, using one-letter suffixes to denote the developer. So I wind up with things like:

Neve 1073 [space space] = this is the stock Logic Neve emulation; the spaces at the end of the name force it to appear first in the pull-down plugin menu list.

Neve 1073 u = this would be a UAD plugin that runs on the UAD card's DSP.

Neve 1073 w = this would be a Waves plugin; the "w" indicates "Waves".

Neve 1073 x = this would be a UAD plugin that runs natively, as in "UAD-X".

So when I go to instantiate a plugin I see ALL of my Neve 1073 emulations grouped together in the list, with the stock Logic one at the top. VERY HANDY. I do this for any plugins where I have similar things from multiple developers.

4 - I can also tweak those Long Names to generally shorten and clean up my plugin menus. Many developers seem to think you'll only have their plugins alongside the stock ones, as opposed to the unruly mess of 3,000 items, so I clean things up as much as possible. So instead of "Waves Scheps Omni Channel (stereo)" I'll see "Omni Chan s" and instead of "Waves Abbey Road Vinyl Mastering Suite (stereo)" I'll see "AR Vinyl s" or whatever. Way better.

5 - I also make a lot of new custom folders in the Plugin Manager and move every single plugin - both stock and third-party - into the desired folder. So instead of just a single folder for "Dynamics" I'll have "Dynamics - Compressors", "Dynamics - Limiters", "Dynamics - Hardware Emulations", "Dynamics - Mastering", and "Dynamics - Transients+Gates". I make similar divisions for other categories, so that distortion pedals aren't lumped in with more sophisticated distortion plugins and guitar amps, etc., and there are totally new folders for Sound Manglers, Sequenced Effects, Granular Processors, and "Reverbs - Realistic" vs "Reverbs - Special FX", etc. While it does take some time to audition each new plugin, give it two new names, and decide which folder it belongs in, it really helps me move quickly when working.

I should mention that I will place many plugins in more than one custom folder, which Logic happily lets you do, so that a limiter might appear in "Dynamics - Limiters" as well as in "Dynamics - Mastering", and a filter that has a step sequencer in it might appear in "Filters" as well as in "Sequenced Effects". That way, when I'm frantically searching for something I don't need to remember EXACTLY which folder I stuck it in. And of course all plugins still appear in the original non-user folders that are sorted by developer name (although only with their new custom Long Name), so if I can't seem to find where I stuck it, but I DO remember the developer, I can always find it in it's original home folder.

I also have a few folders like "1 - EQ Favorites" and "2 - Dynamics Favorites" etc. so that I can move my absolute every-day plugins into those folders as well and have really short lists of the good stuff right at the top. Of course, none of these schemes would work if Logic only allowed a plugin to appear in a single user folder, but since it lets you drag a plugin to more than one user folder, all is well. Freedom!

I have PlugSearch but I don't really use it much.... yet. But I can see it may prove useful. Of course, by the time I actually go to use it, Logic will probably have added that feature, so that'll be another $29 wasted!
 
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I have 10-15 software synths installed. That’s still more than I need or regularly use. But many more have gone away, one way or another. I have five or so in a folder in the DAW and the rest in a subfolder out of the way.
I like this approach. I'm actually just doing a spreadhseet of what I have, and actually it comes to 15 "main" synths, and some others that came in bundles or I don't use that much. You can slim that down even further because in truth, I use the NI/NKS ecosystem like a rompler, and Dawesome/Slate & Ash for sound design. I rely on presets but the Dawesome/S&A are the places I enjoy coming up with my own patches. So that's actually a nice way of compartmetalising it.

On the other hand, I tend to suffer from freeware GAS from time to time, if there is such a thing.
Perhaps this needs its own analogy. Freeware Aquisition Reflex Tendency perhaps haha. But in seriousness, when I checked, actually just binning off a bunch of freeware (mostly effects) would simplify my life dramatically. These folks are so easy to pick up "just because."
Who knows maybe one day they will come in handy.... but yeah I use VST collections in Cubendo and keep my top prime time go to's there.... the others rarely get touched unless I am testing.
I like your approach. I'm going to see if I can use Ableton's new tagging system to achieve something similar. I do wish it had a plugin manager like Logic and others. Would make life a lot easier!

Thanks for sharing folks, I've gotten a few ideas from this one!
 
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I also have a few folders like "1 - EQ Favorites" and "2 - Dynamics Favorites" etc. so that I can move my absolute every-day plugins into those folders as well and have really short lists of the good stuff right at the top. Of course, none of these schemes would work if Logic only allowed a plugin to appear in a single user folder, but since it lets you drag a plugin to more than one user folder, all is well. Freedom!

I have PlugSearch but I don't really use it much.... yet. But I can see it may prove useful. Of course, by the time I actually go to use it, Logic will probably have added that feature, so that'll be another $29 wasted!
@charlieclouser - I am surprised you are not using PlugSearch. I see you as a master of studio process, and PlugSearch is a beast at speeding things up. It allows you to assign favorite lists in different categories, and assign a keyboard shortcut to each plugin. I use that feature along with a Streamdeck Xl to set up a couple of pages of buttons to launch every synth, sample-player, and FX plugin that I use on a regular basis. You can also open a popup window with a single keystroke and search by typing. For me it has eliminated the need for deeper sorting.

Also, if Apple adds that feature to Logic you know it will be broken for the first 8-9 months, or it will only work on VST3 or something. So just use PlugSearch, you won’t regret it.
 
@charlieclouser - I am surprised you are not using PlugSearch. I see you as a master of studio process, and PlugSearch is a beast at speeding things up. It allows you to assign favorite lists in different categories, and assign a keyboard shortcut to each plugin. I use that feature along with a Streamdeck Xl to set up a couple of pages of buttons to launch every synth, sample-player, and FX plugin that I use on a regular basis. You can also open a popup window with a single keystroke and search by typing. For me it has eliminated the need for deeper sorting.

Also, if Apple adds that feature to Logic you know it will be broken for the first 8-9 months, or it will only work on VST3 or something. So just use PlugSearch, you won’t regret it.
Yes I need to start using PlugSearch more. I seem to remember that when I first got it (at v1) it was a little weird, or needed to scan folders, or create an alias list, or did something else that bugged me, so I didn't really get into it. But with the latest versions its seems much faster and better. Plus, for many years I was on Intel 12-core Mac Pro cylinders on macOS Mojave, and I wanted to keep things as simple as possible for such a weak computer - that system essentially got frozen in time a few years back and I didn't want to change or add much for fear of breaking something. But now I'm on m2ultra with the latest Logic version, and it's all so fast that I think I can afford the CPU headroom! And I did finally get a StreamDeck+ (but haven't even turned it on yet) so when I dig into that I'm sure it will be a good match for PlugSearch.
 
People who pile up synths the most are the ones who are terrible at synthesis and sound design and keep piling up synths because of presets and use synths as browsers for presets.

I was there so I know. ONLY WHEN I started learning synthesis and getting better at it I started gravitating towards certain synths and then out of bunch of synths you suddenly have 3-4 synths you use all the time.
 
People who pile up synths the most are the ones who are terrible at synthesis and sound design and keep piling up synths because of presets and use synths as browsers for presets.

I was there so I know. ONLY WHEN I started learning synthesis and getting better at it I started gravitating towards certain synths and then out of bunch of synths you suddenly have 3-4 synths you use all the time.
Yep.

Although I also have an assortment of other synths that I know well enough to know when I want the character they provide. Like some fx I have but rarely use - sometimes a certain synth just fits perfectly.

I definitely have more than I need, with hardware and software. Time for another round of “whack a synth” soon methinks.
 
People who pile up synths the most are the ones who are terrible at synthesis and sound design and keep piling up synths because of presets and use synths as browsers for presets.

I was there so I know. ONLY WHEN I started learning synthesis and getting better at it I started gravitating towards certain synths and then out of bunch of synths you suddenly have 3-4 synths you use all the time.
This. Learning synthesis from the ground up has ultimately saved me A LOT of money (and time). Many years ago I would buy new subtractive synths because I heard a demo and thought buying that synth was the only way to get that sound – not realizing that with most synths (subtractive in particular), if you understand how to use OSCs, envelopes, and filters, you can create the same sounds on any of them. You learn that utilities and modulation are almost more important than any flashy talk of analog filters and effects – I'd much rather have a synth with a handful of LFOs, envelopes, noise utilities and a mod matrix where I can mod whatever I want, than a synth with "warm analog oscillators modeled after this rare synth" but only really limited modulation opportunities, like one LFO and a single envelope tied to both filter and amp (ugggh). Or an inflexible or confusing interface - life's too short for that.

Not only has it taught me to use what I have and make my own sounds from scratch, but it also makes me A LOT pickier when it comes to any new synths. As a result, I can't remember the last time I've even bought any synths, been a year or more. I have all I need for many lifetimes of music making and between programming skills and effects processing, they will never get old, so I'm not really worried about it.

I had to get a new Mac last year and re-install many plugins. I started my system from scratch so it was an opportunity to do some housekeeping. Definitely didn't bother downloading and installing any synths which I know I won't use anymore.
 
You absolutely 100% can’t make the same sounds with one synth as with many that have a particular character. Making sounds like something isn’t the same as using the something itself.

That’s one reason I stopped bothering with overly-complex synths that try to be everything and just stick with simple to moderate synths. Like a set of personalized chef knives rather than a Swiss Army knife trying to cram everything awkwardly into one container. If a synth has character and sounds great it doesn’t need a lot of LFOs (to me). I’d rather spend my time getting to know the nuances of my favorite simpler synths - for the best ones really are nuanced - than trying to replicate its character with something else not designed to sound like it by slapping a other LFO and filter in hopes of achieving something that’s easiest by just using another synth.

This is also why my favorite synth is my OB-6. One LFO. Unique character. Modern classic.

But that’s me.
 
I have switched to Linux, and thus, don't use all my Spectrasonics plugin. But the license transfer is too expansive to be interesting to sell them.
As far as I know Spectrasonics reviews licence transfer requests case by case, and they may or may not charge that ($50? IIRC) licence transfer fee. If you have owned your library for a long time then you will probably not be asked to pay that fee.
 
I just keep everything and occasionally and randomly pull things out of the basket.

My template has all my favorite VIs set up, so the random pulls are typically just for inspiration or flavor.
 
I’d rather spend my time getting to know the nuances of my favorite simpler synths - for the best ones really are nuanced - than trying to replicate its character with something else not designed to sound like it by slapping a other LFO and filter in hopes of achieving something that’s easiest by just using another synth.
Not sure if that was in response to what I said, but I would never say I just "slap" tools down and hope for the best. The whole point is to learn these tools inside and out. They are utilities to shape and sculpt sound. I am a proud owner of a vintage Korg Polysix, and it's especially awesome for quick pads. But with only one LFO which can only be routed to one thing at a time, and one envelope which is tied to both filter and amp, it's pretty limited if I want to do even slightly advanced sound design, such as envelope which shapes LFO movement, or an LFO which can vary the speed of another LFO, or noise or S+H which can crossmod the oscillator and dialed to taste for interesting and unique timbres. This is why, in particular to software synths, I'd rather use 1 plugin which offers me utilities to shape sound in any way I want, rather than 10 plugins which aim to "recreate" a vintage synth down to all its limitations. Although most are not that limited, I was just using these examples as opposite extremes.

A nicely designed UI and mod matrix keeps everything still simple. In recent memory I've really liked Pigments for how easy it is to do anything from a simple subtractive lead to advanced sample-based granular synthesis, and any tools you want to shape from there, but they visually stay out of the way so it's not complex to look at. I'd rather something like that which enables me to do everything in one plugin than a bunch of different plugins which are more or less limited one-trick-ponies.
 
As far as I know Spectrasonics reviews licence transfer requests case by case, and they may or may not charge that ($50? IIRC) licence transfer fee. If you have owned your library for a long time then you will probably not be asked to pay that fee.
Oh really ? I'll try then, thank you. It actually is a long time.
 
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Let's be fair, we all know that hard drive has a bunch of stuff lurking on it from over the years.

But something struck me the other day as I was thinking about the trial and error aspect of making music. As the saying goes, "you don't know what you don't know" and so there's some costly experiementation at arriving at a setup that works for you, especially in the early days. Often like other pursuits, that cost comes up front. Later on, when you know what you like and what you don't, you can see the wood from the trees and you start to identify ways of working, synths, libraries and effects that are the go-tos, and the ones that didn't quite make it. Let's be honest even with the benefit of walkthroughs, demos and everything, sometimes it's only over the long haul that it becomes obvious what was worth the investment.

What I wondered, especially for those of you in the game for ages is - what do you do with the ones that started out as love at first synth, but then you moved on? You've locked down those main synths, but what to do with the few that are hanging around, that are still good but just not your absolute favourites? I feel the answer has a lot to do with how your brain is wired with this stuff.
  • Be brutally minimal and say; if they don't play a role you'll sell them on.
  • Keep them, but hide them on your system.
  • Keep them, but have a setup that focuses you in on a handful of plugins per project.
  • Keep the license but delete the plugins.
  • Keep them, and use them as a rotating cast of inspiration super-subs to throw into the mix when you need to switch it up.
  • Keep them, the more the merries, and flit from synth to synth because you enjoy the madness of indulging in your collection.
Obviously software is (as Steve Duda once said) unfortunatley, like vaporware. It's not always going to last. And it's not like it goes off with time either, it's really just a case of whether it keeps working (or not!)

So folks, what do/did you do when you hit your stride with the setup that works for you?

Interested to hear your take.
I fix them a bourbon sour, put on their favorite show and then hit them from behind with a shovel and bury them in my backyard. Rinse and repeat.
 
Just wanted to say a big 'thanks' to @charlieclouser for the post #26 above. First, great ideas, all around. Second, really appreciate the time and effort to describe those ideas in such detail. That stuff is super helpful to us non-pros just trying to put things in order, and especially so when there's a little OCD involved.
 
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