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 colour-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 curve 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.
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 sidechain 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.
Web: www.izotope.com
Format: VST, AU, RTAS
#2. Ohm Force: Ohmicide
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.
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, its 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.
Web: www.ohmforce.com
Format: VST,AU, RTAS
#3. FXpansion: Maul
The core distortion characteristics for each stage are selected from 32 algorithms, including everything from clip and overdrive to ring modulation and some rather cool DCAM-sourced components (GE Diode, JFET, Transistor and so on). Processing level is controlled by the main Drive knob, and this is supplemented by a further switchable Saturation option.
The drive processing is topped and tailed by the Dynamics and Tone controls respectively. Dynamics is a pre-processor transient shaping option that can adjusted between shorter and sharper (Bite) and longer and gentler (Body). Tone is a post-drive filter that works in three modes: High-, Band-and Low-Pass.
For balancing, each stage includes in and out gain stages and dry/wet mix, and you'll also find further stage gains in the Master section along with global output gain and mix. Maul also uses FXpansion's TransMod system, allowing you to modulate parameters using two LF0s, an envelope follower, sample and hold. or noise.
Maul is extremely easy to use and sounds excellent. The core algorithms really are incredibly varied and capable of quickly adding or removing depth, transforming sounds in bott predictable and unpredictable ways, and it's also useful having solo and mute options on each stage. The Dynamics control is great for quickly changing sounds and can be automated in your DAW to great effect. If you're feeling short of inspiration Maul includes a bunch of instrument-specific presets, and for purists there's also an oversampled Hi Def setting.
Web: www.fxpasion.com
Format: VST, AU, RTAS
#4. FabFilter: Saturn
Each band includes drive, frequency, feedback, dynamics and 4-band tone controls, along with output level, panning and wet/dry mix. Interestingly, you can pan the drive as well, applying a stereo offset to the distortion.
Saturn launches with one band, and you add further bands on screen as you need them. This is less hassle than it sounds, and it really gives you the feeling that you're constructing the sound you want from the ground up. The distortions themselves aren't as varied as those offered by some of our other recommended plugins, but they do sound excellent. Plus, if you fancy some movement, Saturn also has an excellent modulation system, which includes an X/Y pad and configurable modulation step sequencer (XLFO), as well as typical envelopes.
Web: www.fabfilter.com
Format: VST, RTAS, AAX, AU
#5. D16: Devastor
Devastor's three filters work in parallel, although they can also be individually shifted to either before or after the clipper circuit. The filter options are low-pass, band-pass, high-pass and band reject, and they can affect things dramatically, particularly if you stick them on either side of the clipper circuit. High resonance settings, unsurprisingly, add all sorts of lovely ringing artefacts. Combine all this with an extremely competitive pricetag and you've got a real winner.
Web: www.d16.pl
Format: VST, AU
