No offense taken! I was just emphasizing that the modules are pretty unique to this box. The algorithms in Triad are very different from what’s in here. Still, I always love to see users push Triad to its limits to replace all sorts of things.
Yeah 
We definitely screenshotted that and passed it around on our group chat. It took three seasoned developers about two years to make this. Really, all the credit goes to Gary and Josh, though, as my code contributions were mostly infrastructural.
Gearslutz has a lot of collective knowledge, and I love threads where Charlie Clouser etc just spin wisdom.
But the GAS hounds that spend all their energies shitposting about how everything is “an unusable toy” that they’ll “never buy”, who cares… my ignore list grows but many of them just get banned and reregister a sockpuppet account that gets banned…
The lazy stupidity that has nothing to do with technology or creativity makes me regret logging in there sometimes.
Mods don’t, hence flagged by the community.
I did google this a bit after an earlier mention and couldn’t find the comments on social media, reddit, etc. Which isn’t to say that they don’t exist, of course. But it’s unhelpful to throw it out sans-citation for us to see without editorializing. People have commented on Folktek’s owner’s turn but that guy is unambiguous in his beliefs so you don’t have to hunt as hard to figure out what people are reacting to.
Anyway! It’s a good deal for a working musician and sounds to be much better developed than other emulation attempts (love it when EEs go software. I should really also check out Kush Audio…)
Great job, @trickyflemming !
eh both processes sound too different to me, but cool comparison regardless with some electronic music. sounds good for sure
I would love to hear the SB into the Neve MBP. I think it would be 
That’s long been the combo I’ve wanted. Having the MBP and also another compressor, probably a Bus+ at this point and using one or the other based on the source material.
my bad! and thanks for the ‘offtopic’ research (fail to see why it’s offtopic, but can only agree, repeating myself, that citations/links/proofs needed in such cases, otherwise it’s worth flagging/moderating — but only then)
Somehow i like this implementation so much:
“ A sound that’s unique to your serial number
In the analog world, every piece of hardware will sound slightly different due to tolerance variances and factors like age. When you load SILVER BULLET mk2 onto a track, the plugin implements a unique built-to-order version of the digital model associated with your particular license. The DYNA REALISM™ modes sound different based on the serial number used, and you can specify any six-digit serial number you like.”
That seems fun, I’d enjoy reading more about the implementation behind the magic.
The TDR SlickEQ GE in Dual Mono mode has a very similar feature.
Has anybody compared the plugin to the hardware? I don’t care if it’s the same. Good is good if it works. I’m just interested.
I think I’m going to buy the plugin when it gets into the sales. I like what it does
Yes, I’ve compared the plugin to my MK1 hardware. It’s not a straight apples to apples comparison, because of the the MK2’s additional functionality, however, I did my best to make it as comparible as I could. I disabled the features of the plugin that aren’t available in the MK1 hardware and only used the same ones that are.
Here’s what I wrote previously:
I still stand by that, and I did wind up buying the plugin even owning the MK1 hardware. Having the plugin is terrific to run virtual synths and DAW based sampling through without having to stop and render through the hardware while also more or less committing to the source at that time.
If I were doing a lot of mixing, I’d certainly use the plugin on busses. For my mastering, I’m always going to use the hardware given the option. That said, I occasionally will have projects where I can see using the plugin as well.
Every couple of years there’s a plugin that comes out which really underscores where we’re at in the digital world in terms of overall quality and capability. A new benchmark that everyone else will be judged against. In my opinion, this is one of those standout plugins.
Thanks for the info and the unbiased opinion 
Feeling the pressure as I think today might be the last day before the PA discount expires 
It’ll eventually go on sale again and more than likely at a lower or possibly much lower price if you’re familiar with how Plugin Alliance usually operates. The question really just becomes do you need it right now or is it just FOMO.
I wish I had more time to demo it properly, but first impressions were good. Just a bit skint atm, I’m sure it will be useful.
You can technically get it for $150 plus two other plugins - buy a year’s subscription for $150 (pay in one hit), cancel it so it doesn’t renew, you get 3 plugins (any) to keep.
Any thoughts on the new fairi-mu colour module?
Looks very tempting, but the $90 shipping to the uk for a tiny module is an absolute stinger.
I would love to hear more reports on the Fairi-Mu!
Question for Silver Bullet owners, do you generally have it on the end of your chain when using for buss duty?
I’m going to be doing some dirt layering on a track, and I think I’ll have an Overstayer MC earlier and it makes sense to end in the SB since I’ll have a bit more mid-side fudging with ratio and other EQ.
My context is 90% mastering, but I’ll elaborate. Mine is sort of in the middle of the process. The signal flow looks like this in Studio One:
Correction —> Enhancement (external analog loop) —> Final Enhancement —> Compression/Limiting
I like to perform any initial correction (subtractive EQ, De-essing, etc) and cleanup prior to hitting any enhancement (e.g. saturation, color, boosting EQ, etc) with the idea being why bother to later remove something while also boosting things I don’t want. Once cleanup and correction has occurred, it goes out through the analog loop (currently Silver Bullet and Creme), back in and then into any other plugin enhancement, EQ or compression I might want to do. Last is always limiting.
I use the Silver Bullet right after my DAC with an Audioscape D-Comp as insert. This then goes to a Bettermaker Mastering Limiter 2.0, FCS Clip/Sat, and Overstayer MAS before hitting the final ADC.
Now that’s the setup…
