Voxengo LF Max Punch - User Testimonials

I just bought LF Max Punch, which went very swift.  Installation was as simple as an installation can get...  I have a very positive experience with voxengo, keep up the good work!!

I'm testing it on some old songs of me (Of course I already tested the demo) and it blows me away.  Just what my songs need.

And thanks for keeping things affordable.

Hello Voxengo!

Just wanted to chime in and say how much I'm enjoying your products.  I'm using LF Max, Transgainer, and your MS plug.  I'm a sound designer for feature films and video games, and I simply cannot believe the value and quality of your software.  It's unreal!

It would be much harder to do a good job without your stuff.  Big beefy sounds!

Thanks again,

Thank you again for your products.  With every new project I find new ways to get the sounds I want with your tools.  Voxengo VSTs are truly part of my workhorse arsenal.

The latest example is LFMax and LFPunch.  At first I thought they were nice enough to buy, but I didn't use them much until recently.  In fact, I had almost considered giving them up.  But recently I sat down with the tools to really see what they're made of -- and that's when I came to really discover their potential in ALL my mixes!

With a clever combination of Crunchessor for sidechaining, LFMax, and LFPunch for all tracks with low-frequency content, my tracks sound ten times better.  I had always thought 'low end will always be sloppy, there's no way to make it sound good'.  I was wrong!

I was always trying to repair slop in the midrange and unbalanced highs with simple EQ, but with LFMax, LFPunch, and Crunchessor, I'm able to tame the low-end and get the sort of solid, even response I've wanted in a wide range of listening conditions -- headphones, studio monitors, and consumer systems with a wide array of subwoofer quality, tone, and loudness "features".

Been using these for about 6 years and I wanted to express how much I appreciate them.  HarmoniEQ is such an asset to adding color.  In the tradition of the Pultec EQP-1 I often bring frequencies down with the stock Reaper EQ and bring them back up with HarmoniEQ, adding color when I don't even need an EQ adjustment.  It's been especially effortless to change an electric guitar's tone when I feel like, "I wish he'd played a tele here instead of that SG." Even after I picked up Warm Audio WA-412 for overall coloration, HarmoniEQ is still invaluable for shaping coloration so I'm less in need of spending thousands on different analog devices to achieve the specific profile I'm after.

I have some feature suggestions, first would be to add a non-colored EQ for pulling down frequencies so the Pultec trick is fully integrated, and also I think it could benefit from higher oversampling factors since the difference between 4x and 8x is plainly audible to me, would love to see 12x, 16x, 24x, and even 32x since CPU is pretty abundant these days.  Even folks who are light on CPU can adjust the mix at lower oversampling, then set up a render queue with the oversampling cranked, and have the DAW process it slowly overnight while they sleep.

I still use the old version of SPAN because I'm set in my ways, but also those average and peak RMS readings are such great measures to ensure my mixes are the same general volume.

The bass saturation feature in LF Max Punch gets so much use, even on vocals to give them a "closer" feel to them, on overheads and ambient mics to get more room impact on the lows, places I never would have thought to use them.  Brilliant tool!

Elephant is the only remotely pumpy limiter I'll use.  I like my mixes to be highly realistic, which means I can't stand LA1176's, but sometimes a bit of pump sets the right tone without sounding desperate.  Elephant nails that every time.

Here's some pearls for folks who don't appreciate how awesome a phase adjustment tool PHA-979 is.  Any recording that's live or live off the floor with ambient mics, you can use PHA-979 to phase-align direct mics to the ambient mics by adjusting the phase so the lower frequencies combine the most (might actually be nice to have a mono version just for this).  Then put a PHA-979 on an aux bus with L/R set to -90/+90, to generate a side channel.  Mute the ambient mics and send all your direct mics through that side channel bus and feather it up until you can barely notice the widening effect.  Now unmute the ambient mics, and you can't tell where they end and the direct mics begin.  It's the glue between the two without the muddying of early reflection reverb.  I haven't found any other plug-in that accomplishes that nearly as well as PHA-979, and it's not nearly enough anti-phase to ruin the mix when summed mono.

Voxengo plugs do more than just a good job, they really make the job more enjoyable.

Thank you again for your products.  With every new project I find new ways to get the sounds I want with your tools.  Voxengo VSTs are truly part of my workhorse arsenal.

The latest example is LFMax and LFPunch.  At first I thought they were nice enough to buy, but I didn't use them much until recently.  In fact, I had almost considered giving them up.  But recently I sat down with the tools to really see what they're made of -- and that's when I came to really discover their potential in ALL my mixes!

With a clever combination of Crunchessor for sidechaining, LFMax, and LFPunch for all tracks with low-frequency content, my tracks sound ten times better.  I had always thought 'low end will always be sloppy, there's no way to make it sound good'.  I was wrong!

I was always trying to repair slop in the midrange and unbalanced highs with simple EQ, but with LFMax, LFPunch, and Crunchessor, I'm able to tame the low-end and get the sort of solid, even response I've wanted in a wide range of listening conditions -- headphones, studio monitors, and consumer systems with a wide array of subwoofer quality, tone, and loudness "features".