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Post by Johnkenn on Mar 1, 2021 11:53:00 GMT -6
11 hours to go with this code - LYS2-2999
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Post by ragan on Mar 1, 2021 11:53:46 GMT -6
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Post by Johnkenn on Mar 1, 2021 12:15:47 GMT -6
Yeah that's really cool. Ozone 9 has something similar but not that extensive.
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Post by gravesnumber9 on Mar 1, 2021 13:09:57 GMT -6
Not sure if you have this already but the Lindell 80 gets a lot of love. I use it all the time. The controls are a bit finicky but it sounds good and looks good if that sort of thing matters to you.
My latest PA "must have" is the new DearVR Monitor. Simple. No gimmicks. Better than the various Waves headphone room simulator thingies I've tried. Tried out DearVR Monitor a few weeks ago, made a couple tweaks, sounded good on my monitors, sounded good in living room/dining room/car/etc... now it's a daily use tool.
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Post by seawell on Mar 1, 2021 13:43:38 GMT -6
Do you have the purple mc-77 yet?
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Post by mhbunch on Mar 1, 2021 14:10:06 GMT -6
Another vote for the mc77 and Lindell 80. I use the 80 bus on my 2bus all the time.
Also the Townhouse is my fav ssl comp plugin.
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Post by ragan on Mar 1, 2021 14:12:41 GMT -6
John's got the UAD stuff which I think is likely on par with the Purple, but yeah, that's about my favorite ITB 1176.
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Post by Johnkenn on Mar 1, 2021 14:16:27 GMT -6
Yeah I’ve got the MC77. I’ve got so many damn plugs I don’t particularly need anything else lol. I might grab that thing Ragan’s talking about just for the ability to AB and meter loudness.
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Post by phdamage on Mar 1, 2021 14:42:28 GMT -6
a lot of the brainworx stuff that is also on UAD is amazing. things I can't live without: brainworx digital eq v3 (though fab filter pro q3 is a fine substitute); the Acme opticom is amazing, the Ampeg bass amps are great, and the Maag EQs are really useful and cool.
personally, i hate using ITB channel strips, but the SSL G series is pretty okay sometimes
Brainworx refinement, shredspread, VMS3, and DSM V3 are all pretty special, as well
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Post by Deleted on Mar 1, 2021 14:44:41 GMT -6
Take that 30 bucks and buy the Fuse VCL-4.
Otherwise:
Metric AB
Neold v76u73
Acme Opticom (some nice dirt but annoying gui)
SPL Dereverb.
I'm not a big PA fan but the above are all killer.
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Post by Deleted on Mar 1, 2021 14:46:03 GMT -6
a lot of the brainworx stuff that is also on UAD is amazing. things I can't live without: brainworx digital eq v3 (though fab filter pro q3 is a fine substitute); the Acme opticom is amazing, the Ampeg bass amps are great, and the Maag EQs are really useful and cool. personally, i hate using ITB channel strips, but the SSL G series is pretty okay sometimes Brainworx refinement, shredspread, VMS3, and DSM V3 are all pretty special, as well How do you use the Pro Audio DSP DSM? I've never been able to figure it out. I just tried it as a de-esser and it sort of worked but not nearly as well as the more colored PSP Infinistrip de-esser. |
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Post by ragan on Mar 1, 2021 15:31:34 GMT -6
Yeah I’ve got the MC77. I’ve got so many damn plugs I don’t particularly need anything else lol. I might grab that thing Ragan’s talking about just for the ability to AB and meter loudness. After just a few days I can tell you conclusively that the Metric AB will make a bigger improvement in my tracks than adding more slight variations of EQ, comp, saturation, etc that other plugins would offer. It's an eye and ear opener to me. Stuff I wouldn't think of really, but when I have an instantaneous, level-matched comparison as well as band by band visual comparison (or any number of other ways to compare), I can better tell what to do. Stuff like, "Hmm, by comparison, the ref track has a pretty solid bump at 50Hz and the rolloff below that looks a lot different than mine..." then go tweak some things and, I'll be damned, my track now sounds a lot better. Or looking at dynamic range, where certain things are poking out, subdued, etc. All the same stuff we've all tried to do forever, with comparing to mixes we like. It's just way more productive with it being instantaneous and with a suite of analytical tools with a really nice GUI sitting right there. |
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Post by phdamage on Mar 1, 2021 20:36:50 GMT -6
a lot of the brainworx stuff that is also on UAD is amazing. things I can't live without: brainworx digital eq v3 (though fab filter pro q3 is a fine substitute); the Acme opticom is amazing, the Ampeg bass amps are great, and the Maag EQs are really useful and cool. personally, i hate using ITB channel strips, but the SSL G series is pretty okay sometimes Brainworx refinement, shredspread, VMS3, and DSM V3 are all pretty special, as well How do you use the Pro Audio DSP DSM? I've never been able to figure it out. I just tried it as a de-esser and it sort of worked but not nearly as well as the more colored PSP Infinistrip de-esser. - rebalancing poorly recorded guitar or bass tracks when simple EQ doesn't get the job done or maybe it's so rough i'm not even sure where to start - tonally matching different performances/recordings of the same source (done different days or with different rigs, etc) - closing the gap between disparate sounding tracks when putting together or mastering a record - you need to up the RMS level fairly transparently. i usually just crank the settings, get them doing a lot of work, then pull the mix way back. I doubt I've ever used it at more than 30% |
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Post by Johnkenn on Mar 1, 2021 20:51:31 GMT -6
So - yeah - demo'd the Metric AB and pulled the trigger at $29. Ozone does a lot of this, but not as slick and detailed.  |
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Post by srb on Mar 1, 2021 20:55:27 GMT -6
So - yeah - demo'd the Metric AB and pulled the trigger at $29. Ozone does a lot of this, but not as slick and detailed. Same here. Looks handy. |
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Post by Johnkenn on Mar 1, 2021 21:03:40 GMT -6
BTW - I can't believe how loud some of these masters are.
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Post by Deleted on Mar 1, 2021 21:13:56 GMT -6
How do you use the Pro Audio DSP DSM? I've never been able to figure it out. I just tried it as a de-esser and it sort of worked but not nearly as well as the more colored PSP Infinistrip de-esser. - rebalancing poorly recorded guitar or bass tracks when simple EQ doesn't get the job done or maybe it's so rough i'm not even sure where to start - tonally matching different performances/recordings of the same source (done different days or with different rigs, etc) - closing the gap between disparate sounding tracks when putting together or mastering a record - you need to up the RMS level fairly transparently. i usually just crank the settings, get them doing a lot of work, then pull the mix way back. I doubt I've ever used it at more than 30% The first reason sounds great. Sending you a pm. |
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Post by Johnkenn on Mar 1, 2021 21:14:35 GMT -6
Pulled in a Keith Urban one - Cop Car - so it's about 7 years old...it's like -6, -5 LUFS. Says "Crushed" on Metric AB. lol. And it SOUNDS crushed. But this is just the mp3 I bought from the Apple Store...but that won't change the loudness, though right? Just changes the quality. dan - if they're all going to play the same volume, why do they crank them that loud? |
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Post by Deleted on Mar 1, 2021 21:42:38 GMT -6
Pulled in a Keith Urban one - Cop Car - so it's about 7 years old...it's like -6, -5 LUFS. Says "Crushed" on Metric AB. lol. And it SOUNDS crushed. But this is just the mp3 I bought from the Apple Store...but that won't change the loudness, though right? Just changes the quality. dan - if they're all going to play the same volume, why do they crank them that loud? I love the lyrics on that one. You can really hear the imd and sizzle on his voice and the drums sound uh inappropriate. They prob pushed a multiband limiter one louder than the competition or they pushed it too hard in the first place, robbing the mix of all power and just pushed harder for crunch. In both DMG Limitless and TDR Limiter 6 GE, you can pretty rob the music of dynamics before they start crunching up. If you push them one louder than “flattened” or turn back the lookahead because it got too boring sounding, distortion and crunch will increase. How do you even let it get to -5 or 6 LUFS? To sound like everybody else or the reference? Past -7 is super distorted ime for anything recorded and mixed normally. Past -9 starts to sound like garbage on my monitors. |
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Post by Johnkenn on Mar 1, 2021 22:14:12 GMT -6
Pulled in a Keith Urban one - Cop Car - so it's about 7 years old...it's like -6, -5 LUFS. Says "Crushed" on Metric AB. lol. And it SOUNDS crushed. But this is just the mp3 I bought from the Apple Store...but that won't change the loudness, though right? Just changes the quality. dan - if they're all going to play the same volume, why do they crank them that loud? I love the lyrics on that one. You can really hear the imd and sizzle on his voice and the drums sound uh inappropriate. They prob pushed a multiband limiter one louder than the competition or they pushed it too hard in the first place, robbing the mix of all power and just pushed harder for crunch. In both DMG Limitless and TDR Limiter 6 GE, you can pretty rob the music of dynamics before they start crunching up. If you push them one louder than “flattened” or turn back the lookahead because it got too boring sounding, distortion and crunch will increase. How do you even let it get to -5 or 6 LUFS? To sound like everybody else or the reference? Past -7 is super distorted ime for anything recorded and mixed normally. Past -9 starts to sound like garbage on my monitors. I completely agree. |
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Post by OtisGreying on Mar 2, 2021 0:41:12 GMT -6
Grabbed the metric. It definitely gives you a huge in depth look at your mix in comparison to your references. What's your guys' resource for downloading high res reference tracks? Are the iTunes .m4a's/spotify's good?
edit: I'm finding I cant even locate downloaded tracks from spotify, they're encripted. Any suggestions? All I can see is my old downloaded iTunes m4a's.
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Post by Deleted on Mar 2, 2021 1:04:55 GMT -6
Okay phdamage is right. ProAudioDSP DSM 3 is the best ass wiper for shitty guitars and voices I've ever used. There's no weird sheen like Gullfoss and it doesn't get plastic like Soothe. |
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Post by askomiko on Mar 2, 2021 2:59:45 GMT -6
edit: I'm finding I cant even locate downloaded tracks from spotify, they're encripted. Any suggestions? All I can see is my old downloaded iTunes m4a's.
You need to record the songs straight to you DAW if you want to save them from Spotify/Tidal whatever. Other than that, library of good ol CD's is a good thing. Sometimes songs just disappear because of changing deals between record companies, or they decide to "remaster" (=ruin) an entire catalog for an artist. See the horrors of remasters (=horrible remixes with 10cnt sample drums replacing everything) of old Megadeth albums for example.  Or more recently, one artist decided that his 40 year old evergreen hit songs must be removed from Spotify. OK, I understand that, they make the money without you seeing a penny, but what really surprised me that they also removed brand new jazz-cover versions of that song by a totally different band! Crazy stuff. I got that Metric AB, seems useful for the references. I've eyed the Mastering the Mix reference, but I wont pay 60 just for hearing reference songs. $29 is tolerable. Thanks for the suggestions, keep em coming, I might check up that DSP v3 thing. The code for today is "LYS3-2999". |
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Post by Guitar on Mar 2, 2021 4:57:25 GMT -6
All their "fancy" stereo EQ's are by far my most used and favorite. Bettermaker, Elysia Museq, Millennia NSEQ-2, SPL Passeq, etc. Haven't tried the Amek yet. Also like their bus compressors, Iron, Shadow Hills, Townhouse.
Been using the Lindell 50 "API console" more lately too, that's a kind of special one for me, and it's zero latency.
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Post by sean on Mar 2, 2021 7:55:49 GMT -6
You can download CD quality WAV files from Bandcamp. That’s where I buy digital music...or go to your favorite used CD or book store and pick up a copy of the record you want as a reference and burn a copy to your computer. Used CD prices are really low, usually only a buck or two as long as it’s not a brand new release
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Or more recently, one artist decided that his 40 year old evergreen hit songs must be removed from Spotify. OK, I understand that, they make the money without you seeing a penny, but what really surprised me that they also removed brand new jazz-cover versions of that song by a totally different band! Crazy stuff.
