Pianist, Composer, Sound Designer
Geoffrey Gee is a pianist, composer, sound designer, and creator of the acclaimed virtual instrument Plectrum. Plectrum contains thousands of samples created by strumming, tapping, scraping, plucking and striking a wide variety of prepared instruments and familiar materials, sorted, voiced, and transformed into playable keyboard instruments. Marty Cutler of Electronic Musician raves “Plectrum is brilliant in concept and execution, and I recommend it to anyone that needs to be reminded ot the truly wonderful things you can do with samplers.” Craig Anderton adds in Keyboard Magazine, “All the presets have been optimized to sound wonderful.”
Geoffrey describes the role Wave Arts plugins played in processing the sounds used for Plectrum:
“Many of the most useful and interesting of my instruments come from recordings of acoustic events that were very quiet—finger tapping the grand piano strings, silverware colliding on a pillow, faint chirping bugs in a field on a sultry summer day.
“When we hear a single stereo recording of a decaying plucked string, the end of the event is when the sound drops below the noise floor. We don’t notice this noise on a mixed stereo recording, but when you’re playing back hundreds of channels from disk in a virtual instrument like Plectrum, the noise adds up. Even the lowest noise floor we achieved in the recording studio was not acceptable for Plectrum. Enter Master Restoration. The workflow couldn’t be easier: Select a playback range containing mostly noise, and set the noise function to learn the noise; preview the noise reduction; solo the subtracted signal to make sure the integrity of the sound is maintained; and run the process. I often save presets that contain a noise profile I know will be present in other soundfiles from the same session. I use the other sections of the plug for removing things like distant truck traffic and the occasional electronic buzz.
“For the environmental sounds, the task is to highlight the natural sounds we really listen to, like bugs and frogs and birds, and to suppress the sounds we ignore in real life but that the microphone picks up readily—the jet that passed over four minutes ago, or the wind buffeting the gear surrounding the recordist. I use Multi Dynamics for these “habitats.” Dialing in the frequency ranges, and manually adjusting the dynamic response for each band is very intuitive. The results sound great.
“I also have high praise for TrackPlug and MasterVerb, which I use all the time in my own music production. I especially appreciate the output envelope you can add to a long-tailed reverb. Nice idea I’ve not seen on any other reverb algorithm.
“All in all I’d say the WaveArts plugs have exactly the combination of attributes I need—intuitive design, excellent DSP quality, and robust, efficient performance on all platforms. Thank you Wave Arts!”