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Post by Drew @ UA on Jun 9, 2019 18:58:31 GMT -6
re: Capitol Chambers..... so many people fail to realize how important it is to make the artist/performer's headphone mix STELLAR. As you note, singing into a great chain and monitoring ambience like CC makes you deliver a better performance. period!! I VERY often put Studer (sometimes Oxide) in the last slot of the recording chain, as if I am printing to tape. Basically mimicking the way records have always been made. Why reinvent the wheel? As long as you got a singer who can deliver a great performance...... Of course. Without this, you've got a hobby.
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Post by Drew @ UA on Jun 17, 2019 8:26:41 GMT -6
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Post by Johnkenn on Jun 17, 2019 8:55:10 GMT -6
Song was really well done.
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Post by Martin John Butler on Jun 17, 2019 9:31:53 GMT -6
Sooner or later I'll have to get this. Since I'm in no hurry, I'll wait for a real sale, even if it's 6 months from now. I wore the grooves off of the Best of Sam Cooke album, and that's the sound of Jamie Lidell's demo. It may not apply to every project, but it would be fun to see how the Capitol Chambers works in a modern track. I'll demo it first of course.
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Post by Johnkenn on Jun 17, 2019 10:45:15 GMT -6
Sooner or later I'll have to get this. Since I'm in no hurry, I'll wait for a real sale, even if it's 6 months from now. I wore the grooves off of the Best of Sam Cooke album, and that's the sound of Jamie Lidell's demo. It may not apply to every project, but it would be fun to see how the Capitol Chambers works in a modern track. I'll demo it first of course. Probably won’t be a better sale than this with the 4 for $399
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Post by sirthought on Jun 17, 2019 11:03:51 GMT -6
Love the vocal and violin on that demo video, but the guitar work really creates a drama and atmosphere that's just perfect for the whole setting they were trying to create.
Funny how Jamie essentially referred to Altiverb as some "chintzy reverb" that he slapped on when tracking the tune. He seems pretty impressed with the UAD product.
In the section of the conversation where he talks about dropping and breaking a U47 that he didn't own yet...I'm guessing the crazy repair guy he refers to is Shannon.
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Post by donr on Jun 17, 2019 19:03:31 GMT -6
Just listened to "A Rose" about 10 times on Spotify. Just great. I bet the tune has legs.
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Post by Johnkenn on Jun 17, 2019 19:07:49 GMT -6
Reminds me of the Sinatra - Jobim records.
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Post by lando on Jun 26, 2019 15:00:37 GMT -6
Do any of you guys have problems tracking through this plugin? On my Apollo 6x I tried it today as monitor reverb, but Console complained that it couldn't do the low latency thing and that I had to remove plugins on that channel, but the only one I had was Capitol Chambers..
It did sound sweet though, but closer to the Exponential audio R4 Chamber than I thought it would.
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Post by Vincent R. on Jun 26, 2019 15:08:19 GMT -6
Do any of you guys have problems tracking through this plugin? On my Apollo 6x I tried it today as monitor reverb, but Console complained that it couldn't do the low latency thing and that I had to remove plugins on that channel, but the only one I had was Capitol Chambers.. It did sound sweet though, but closer to the Exponential audio R4 Chamber than I thought it would. Did you put the reverb on the aux or the record track itself?
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Post by lando on Jun 26, 2019 16:07:29 GMT -6
Do any of you guys have problems tracking through this plugin? On my Apollo 6x I tried it today as monitor reverb, but Console complained that it couldn't do the low latency thing and that I had to remove plugins on that channel, but the only one I had was Capitol Chambers.. It did sound sweet though, but closer to the Exponential audio R4 Chamber than I thought it would. Did you put the reverb on the aux or the record track itself? On the track itself. Is that the wrong way to do it?
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Post by Vincent R. on Jun 26, 2019 17:47:50 GMT -6
Did you put the reverb on the aux or the record track itself? On the track itself. Is that the wrong way to do it? If you just want to monitor through it put it on one of the Aux tracks and then use the faders on each individual channel, as well as the aux track itself, to adjust how much reverb. This will allow you to monitor through the reverb. I believe you can record the aux output as well. I just haven’t needed to do it.
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Post by Drew @ UA on Jun 26, 2019 17:57:07 GMT -6
Did you put the reverb on the aux or the record track itself? On the track itself. Is that the wrong way to do it? I think so. First, it makes it mono, which ruins IMO. It's really never a good idea (never has been) to put time based effects on Inserts, see above. But also because you're now stuck adjusting the wet/dry mix inside a plugin instead of on a Send like it should be. Oh, and BTW, wet/dry knobs don't control the amount of effect only like a Send does, they instead act as a balance knob that turns down dry while turning up wet, and vice versa. Try it for yourself. It's absolute MADNESS that anyone would try to mix this way, but they do. Want more verb? Turn knob towards wet, guess what? now you have LESS dry in addition to more wet. Why do this to yourself? Sorry for the mini rant. But this is one of my pet peeves to end all pet peeves.
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Post by popmann on Jun 26, 2019 21:31:52 GMT -6
Death to all reverb wet/dry knobs. Dusts off pichfork....
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Post by lando on Jun 26, 2019 23:25:29 GMT -6
On the track itself. Is that the wrong way to do it? I think so. First, it makes it mono, which ruins IMO. It's really never a good idea (never has been) to put time based effects on Inserts, see above. But also because you're now stuck adjusting the wet/dry mix inside a plugin instead of on a Send like it should be. Oh, and BTW, wet/dry knobs don't control the amount of effect only like a Send does, they instead act as a balance knob that turns down dry while turning up wet, and vice versa. Try it for yourself. It's absolute MADNESS that anyone would try to mix this way, but they do. Want more verb? Turn knob towards wet, guess what? now you have LESS dry in addition to more wet. Why do this to yourself? Sorry for the mini rant. But this is one of my pet peeves to end all pet peeves. I've actually found that way kinda useful for finding a good reverb mix on stereo instruments, but never thought about it ending up mono on Console when I monitor, it only ever occured to me when mixing in the DAW. Thanks for the tips!
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Post by sirthought on Jun 27, 2019 0:56:34 GMT -6
The best-practices plan is to put reverbs, delays and modulation on the AUX in console. As Drew mentioned, stereo is good, but it also helps you preserve a dry version of the track if you decide later you don't like the wet version. Tracks are cheap these days!
However...I will note that if you click on the 'inserts' label in any console channel, UAD offers several preset signal chains from big name engineers using the free legacy plugins—and several of those offer reverb from RealVerbPro, Precision Reflection Engine, etc and delay from the P ModDelay. So, someone there thought you could get away with it on inserts while tracking.
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Post by Drew @ UA on Jun 27, 2019 5:05:32 GMT -6
big name engineers using the free legacy plugins—and several of those offer reverb from RealVerbPro, Precision Reflection Engine, etc and delay from the P ModDelay. So, someone there thought you could get away with it on inserts while tracking. That is a completely modern construct. The industry has "given in" to the fact that the majority of people recording today are home hobbyists and it's best to do what rings the support phones less. Notice how many more recent time based effects default to 50% wet, whereas older ones default to 100? Same thing. I'll eat my hat if any of those guys would routinely insert time based effects on channels of the SSL or Neve while tracking. Maybe on rare occasions when the delay is integral to the part and they're committing it, but that's it. Mono verb, mono chorus? Nope.
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Post by kcatthedog on Jun 27, 2019 5:16:41 GMT -6
I'm no pro but I'm with Drew on this and my experience was that while console was very powerful, I kept things as simple as possible, as at the end of the day, you always have the UA dsp channel chip limitations, (1 per) and its overall dsp load , the dsp load of the actual plug in and its order, and memory thresholds to factor in.
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Post by Johnkenn on Jun 27, 2019 7:40:16 GMT -6
Yeah. That ain’t how you do it. Verbs are always on an AUX.
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Post by swafford on Jun 29, 2019 7:10:01 GMT -6
Picked up a discounted Octo to use mostly as a reverb engine and have been listening to these chambers for the last day or so on a mono demo guitar/vocal capture. I love chambers - tweaking the medium chamber on Nimbus being my go to for just about everything for the last few years and I love natural sounding reverbs and I've also always loved the sound of the UAD 140 my friend John has, so...
Anyhoo - anyone else pick up on the bump around 200 in this reverb? Especially pronounced in the number 4 chamber. The track I'm using has a finger picked guitar and the guitar I played likes to resonate on the open A string, which just happens to get plucked in an alternating fashion, really exciting that bump in the reverb to the point of sounding like there's a pulsing UFO just outside the door.
HAHA, I love sh!t like that.
Also tickles my baritone at just the right places.
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Post by Johnkenn on Jun 29, 2019 7:24:51 GMT -6
lordalvin mentioned using the 224 (a real one) on vocals with the mids turned up and bottom and top to taste...that has been such a revelation to me, I haven’t been able to stop using it.
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Post by Bat Lanyard on Jun 29, 2019 7:45:35 GMT -6
lordalvin mentioned using the 224 (a real one) on vocals with the mids turned up and bottom and top to taste...that has been such a revelation to me, I haven’t been able to stop using it. Hope to not take this too off topic, but this is a good point. I've had the UAD 224 for years. I have all but about 10 UAD plugs. Do I really need two more verbs and are they really completely different animals than all the others I already have? The $399 bundle is the way to go if you're going to do it, but I just can't bring myself to checkout. The Chambers, API 2500, 480L and Moog collection. Maybe it's the downside of having a full hybrid setup. I feel like I need these four and I feel like I just don't for the money. I have a Quad and two Octos, so it's not about being afraid to jump in. Conflicted with one day to decide!
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Post by Johnkenn on Jun 29, 2019 8:14:23 GMT -6
I really would like to have the CC and API...but honestly, it’s more luxury than necessity. That’s why I’ve been waffling. I’m not going to buy just the CC, so it’s either $400 or nothing.
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Post by Bat Lanyard on Jun 29, 2019 8:28:58 GMT -6
I really would like to have the CC and API...but honestly, it’s more luxury than necessity. That’s why I’ve been waffling. I’m not going to buy just the CC, so it’s either $400 or nothing. Precisely how I feel as well. Either all-in on four that aren't pressing needs or nothing.
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Post by swurveman on Jun 29, 2019 9:02:21 GMT -6
lordalvin mentioned using the 224 (a real one) on vocals with the mids turned up and bottom and top to taste...that has been such a revelation to me, I haven’t been able to stop using it. Hope to not take this too off topic, but this is a good point. I've had the UAD 224 for years. I have all but about 10 UAD plugs. Do I really need two more verbs and are they really completely different animals than all the others I already have? I have a similar question: I have the UAD EMT 250 and the UAD Lexicon 224 along with Waves Trueverb, Rverb and the Abbey Road Chambers. What does the UAD EMT 140 plugin add that would make it worth the cost to me?
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