|
Post by viciousbliss on Jul 14, 2017 16:16:04 GMT -6
Great to hear everything worked out well. Congrats on your success.
|
|
|
Post by viciousbliss on Jul 12, 2017 7:36:18 GMT -6
lol plenty I don't have. I've definitely attempted to try everything out there aside from UAD and Nebula. Some stuff I've trialed more than once. Ideally I'd like to have my site become a really comprehensive resource, mainly for people just getting started. Wish I had started collecting PA 3 years ago. First started with PT, Pro Q2, Waverider, Lexicon MPX, Autotune 8, and Revoice Pro. Then added some Waves and Eventide. Tsar-1 and Fix Doubler during the sale going on when Fix was on intro. Soundtoys bundle half off during Black Friday. Inflater I think on Black Friday. Waves Gold when it was $130ish. Satin. Tend to hit the black friday sales hard(though a lot of those sales were more like Black Friday month). Bx_console. Metric Halo stuff. Forgetting a few things. This year I've probably bought more than anytime in the past since stuff keeps getting better and cheaper. It's a lot better buying situation than in 2016 or before. Rarely do I buy when something is at full price. Seventh Heaven has replaced all my other reverbs, I haven't used another since. These PA vouchers really increase the chances I'll get something since it usually knocks the price of something useful down low.
There's a lot of multi-tracks floating around ripped from Rock Band and Guitar Hero. Usually just one track each of bass and drums, maybe two for guitar. Although I've found some where there was like 10 music tracks. There used to be jammit.com where they had some different stuff and in wav format for $5 per instrument track. It was pretty disappointing to me that I couldn't just record a vocal for a known song and have it fit well with the track using stuff like a Digitech Vocalist Live 4 on its own. So I always had a goal of figuring out how I could record vocal tracks and mix everything so it sounded as close to the real album as possible. Now I'm finally about where I want to be. Even when using fanmade youtube stuff or a track ripped from my old karaoke cds. A lot of stuff like Def Leppard, Metallica, Guns N Roses, Megadeth, Diamond Head, King Diamond, Soul Asylum, Judas Priest, Iron Maiden, things like that. I've mixed other stuff like Rap, House, Pop-Rock. Right now I'm remixing the few things I've used in my portfolio since they didn't have SHP, Tapedesk, Dopamine, Console4, Busscolors, Oxford Limiter, TCL-2, TE-100, MAAG2, Attacker, Black Box, Harmony Engine, or Bx_Opto. I'm finding I like Bx_Opto a lot as a bus comp for vocal and instrument busses while using TCL-2 for the master fader. So far I'm not using the Maag2 on tracks much, mainly a master thing.
|
|
|
Post by viciousbliss on Jul 12, 2017 0:32:04 GMT -6
SHP got the non-linear algorithm added today and it's very helpful getting a lot of this 80s based stuff to sound the way I want it to. Did Matt add this to the regular SH? My email doesn't say, nor does the website. I'm just using it as a gated reverb that kicks in when things hit around -14 db. What's everyone's thoughts on non-lin reverb? I've never used it much, although I did mess around with the AMS RMX stuff in Altiverb a while back.
|
|
|
Post by viciousbliss on Jul 12, 2017 0:27:46 GMT -6
I like it quite a bit. Right now my PA priorities are the TCL-2 and probably these BX_Console SSL updates. Karacter is good but I felt like I got the ground sorta covered with the Black Box and Oxford Limiter, among other things.
|
|
|
Post by viciousbliss on Jul 12, 2017 0:25:12 GMT -6
910 is good, used to put that across my vocal bus but have now gone with Antares Harmony Engine 4.1. The harmony engine is the best thing I've used for blending vocal harmonies with themselves and also with pre-mixed instrumentals or files from Rock Band and Jammit. I'd also tried the H3000, Waves Doubler, Reel ADT, pretty much every plug of the sort. Elastique pitch from Zplane is also incredible for lining up harmonies. Seems to do what Revoice Pro advertises but better and a lot more efficiently. Revoice still creates very convincing vocal doubles out of thin air, so I don't feel like the $400 was a waste.
Next I'm looking at the Milenia TCL-2 and Vertigo VSC-2 sale. Will be $50 for me to get both with my voucher. The TCL-2 is incredibly helpful with mastering or across the master fader in a mix. Versatile enough to correct a lot of problems. The SSL update to bx_console looks very promising. Also found the Lindell TE-100 to be indispensible across all my busses and master. Those Maag eqs continue to impress they way they help everything blend. PA is becoming my most used stuff along with the Overloud and Airwindows brands. Still using Eventide Ultrareverb, particularly variations of the 80s synth delay preset.
|
|
|
Post by viciousbliss on Jul 11, 2017 6:34:20 GMT -6
I tried this collection on one track so far, just the vocal bus and master fader. It's definitely of comparable quality to the top tube and sat plugs like Wave Arts Tube Sat, Radiator, SDRR, and Nomad's BBE. I'll test it and the HG-2 some more tomorrow. I've really enjoyed them as well. I need to get around to picking up that HG-2 plug though... Thought I saw a couple HG-2 for sale on KVR the other day
|
|
|
Post by viciousbliss on Jul 10, 2017 16:08:52 GMT -6
Just used the hermepass in my latest attempt to make this band's old demo sound listenable. It was helpful. I found that the NJADCD sounded pretty different from just having the Oxford Limiter dither on.
|
|
|
Post by viciousbliss on Jul 9, 2017 16:12:31 GMT -6
Seeing that people are saying they like the new ToTape5 as much or better than Magnetite, I decided to finally check out Airwindows. Mainly I'm just using Console4 on everything. For me it offers a big improvement in workflow and sound. I'm not sure what it's doing, but it gets the dynamics more of where I want them than fader riding with Waverider. I've used Patchwork to insert Console4 at the end of every channel and aux track with fx on it and ConsoleBuss at the beginning of every buss where tracks are routed. All faders set at unity gain just like Chris said. Then I tweak the level on Console a little bit where needed. The ToTape5 seems to integrate a lot of what's good about tape plugs without a lot of their drawbacks. Bite, Busscolors, PurestEcho, Purestgain, whatever I try seems to be useful. Lot of dither options. Anyone else use these?
|
|
|
Post by viciousbliss on Jul 9, 2017 15:59:27 GMT -6
I was looking at getting the MAAG 2 from Plugin Alliance for $29 after the $50 Voucher the other day, and then I stumbled onto an ebay ad showing me this was available in a bundle with bx_opto and spl attacker for $18.50 on ebay. Clicked buy it now and all I had to do was add the code into the checkout on PA's website. There's still some available on ebay, kvr, and elsewhere. For me, the bx_opto gets me what I want quicker and better than their Acme, VSC-2, or TCL-2. SPL Attacker seemed to make stuff better on the master fader without me even tweaking it. Could've used Elysia Nvelope to get the same result or better, but I'm quite sure the Attacker uses a lot less cpu. The Maag I like because it seems to be able to boost the highs without being shrill and the lows without becoming boomy. I tried swapping in a ton of other eqs in its place in an attempt to do the same thing and they all did not integrate as well as the Maag. The Maag 4 serves a different purpose and I plan to watch for a deal on that. I guess having this Presonus bundle will get me a bigger discount on their VSC-2/TCL-2 bundle that's going to be $99 later this month. That would mean they'd be less than $50 with the voucher and whatever this bundle discount is.
|
|
|
Post by viciousbliss on Jul 9, 2017 15:51:11 GMT -6
Check out all the computing power you can buy for less than $500 www.portatech.com/products/category.cshtml?id=1239Based on all the tests I've seen where people were using Kramer tape, a Ryzen 1700 should have more than adequate power to run a pretty big session at 96k using a lot of demanding plugs. If I recall, one test got at least double the amount of Kramers that the Waves Soundgrid Extreme Server gets. In a few weeks I think AMD Threadripper comes out. The new Intels are already out and one seems to have more power than a 6950x with a cheaper price tag. If one is just looking to beat out a 2012 machine by a good margin, I imagine one of these cheaper Ryzens on there should do the trick. The 6700k-based machine I'm using at the moment can run plenty of demanding stuff.
|
|
|
Post by viciousbliss on Jul 3, 2017 0:02:49 GMT -6
I'm reaching the same conclusion with A being more clear but not as nice and smooth-sounding as B. Came to that conclusion before reading the rest of the thread. I'd like it best if B kept the smoothness but opened up a little bit more. I should also add that I'm not really a fan of a lot of modern production styles, especially where a condenser mic was used and a lot of the hissy frequencies are upfront. B largely fixes that problem for me. Sounds like it could be made a touch more open with only a slight adjustment. A keeps this hissy stuff to a minimum and is probably the better balanced of the two mixes. Could make more sense just to tweak that one. How does this file compare? www.realgearonline.com/post/134145Seems to be a step in the right direction, although I find the acoustic guitars to be a little too brittle. That could be the encoding though. It says wav, but is that a lossless file?
|
|
|
Post by viciousbliss on Jul 2, 2017 18:42:14 GMT -6
K701 for me too. I find that they only have a couple blindspots. Most of the time when I check a mix after only using the K701, it's only a few peaks that are too loud. That will happen less as I transition to other methods than the Waves limiters for peak control.
As for amps, just get the O2 from jds labs. There's another place in the UK you can get it too. I suggest that because the guy who designed it explained in great detail and with mountains of evidence why it provides transparent sound and adequate volume for many headphones. He also didn't make a dime off it 9r his odac. Unfortunately, I don't have the tech or knowledge to do measurements of other stuff and audio interface companies seem to know little about headphone amp design.
My audient id14 is adequate enough for me to mix on. One of these days I will havta get an actual Odac and see if pro tools will acknowledge it bc my hifime supposed odac clone only comes up as an option in Reaper.
|
|
|
Post by viciousbliss on Jul 2, 2017 11:38:57 GMT -6
I did a lot of research on the ARC a couple years back and concluded that it wasn't anywhere near perfect at what it sets out to do. In fact, I think there were a lot of comments out there about it making things worse. I don't get that UAD business model. It's true that a lot of their plugs can only run 5 instances or some similar number before maxing out some chip that costs hundreds, right? With the amount of money they charge, their next big product should at least have the same capabilities as the Ryzen cpus above 1700. Should also add that while the Autocomp in Oxford Limiter sounds cool on headphones through the ID14, it makes stuff sound weird on these Bose speakers.
|
|
|
Post by viciousbliss on Jul 2, 2017 11:33:52 GMT -6
I'm reaching the same conclusion with A being more clear but not as nice and smooth-sounding as B. Came to that conclusion before reading the rest of the thread. I'd like it best if B kept the smoothness but opened up a little bit more. I should also add that I'm not really a fan of a lot of modern production styles, especially where a condenser mic was used and a lot of the hissy frequencies are upfront. B largely fixes that problem for me. Sounds like it could be made a touch more open with only a slight adjustment. A keeps this hissy stuff to a minimum and is probably the better balanced of the two mixes. Could make more sense just to tweak that one.
|
|
|
Post by viciousbliss on Jul 1, 2017 3:01:12 GMT -6
Thanks for the info. The L1 was there just to keep things under control as needed. I've been using the CLA76 with everything around 7 and a 20 ratio. Input is 30-36 and output around 18. Not far from the default. I'm finding that the Oxford blows the L1 outta the water, goodbye L1. Having all these limiters set to 16-bit is making it MUCH easier to mix. I'm still outputting a 24-bit, 96k file. Waverider is doing my fader rides and I don't know of anyone else who uses it for music aside from Pensado. I'm still finding that it makes things better. Til Vedat makes a VST version, I'm stuck using Pro Tools. When I was referring to the audio sounding different in PT, I'm talking about live mixing. I'm not exactly sure how bouncing a file changes anything. Still figuring out the Oxford Limiter. I've got a generally good idea what the settings mean, it's more about applying them and what they do. I'm using the TDPF dither instead of the others where you can adjust the depth. Haven't seen a need to use enhance on individual tracks much.
|
|
|
Post by viciousbliss on Jul 1, 2017 1:53:48 GMT -6
Anyone have a problem where their monitors make stuff sound too good? I've got JBL-LSR305s, and everything sounds awesome on them. I've largely stopped using them because I'll bounce a file using nothing but the JBLs, and it will sound shrill and thin on the $100 bose desktop speakers. Famous cds don't sound like that on the Bose. Before I got them, I did extensive research. They were referred to as the "god of measurements" or something like that in one review. People reported that they measured flat in many places in a room. Even doing room treatment or using something like Sonarworks or the ARC system probably won't make them sound cruddy. Instead I've relied mainly on plugging my AKG K701s into the Audient ID14. It's not an ideal matchup due to the ID14 having something like a 32 or 64 impedance on its headphone amp, I forget which one. I'd rather use the Nwavguy designed O2 since I know it was designed with complete transparency in mind. It has to be the only headphone amp ever made where all the specs are all out there. Apparently, there's a lot else that can screw up sound besides impedance. I think Reaper picks up on the HiFiMe Dac I have, but Pro Tools doesn't. It's supposedly close to being a clone of the Odac, another Nwavguy design built for transparency. The Audient has a little more bass presence then the hifime/O2 combo, but I have a pretty good idea how to work with it.
The K701s are pretty easy to work with when it comes to headphone monitoring. No other headphone I've used for monitoring comes close to providing the results these do. In fact, other headphones make things way off. Huge and largely neutral, the K701 doesn't need me to do much Bose speaker tweaking afterward. Sound closer to a regular headphone in terms of stereo spread than something like a Senn 650 or 800. I've always found the Senn headphones a bit weird. Not as weird as the LCD stuff, those were the strangest. I've heard the top of the line, expensive Stax stuff. It was really fast but had no bass. Can't say I believe in these headphone plugins like Ref 3, Morphit, Redline Monitor, or NX. There are so many variables with the amp, dac, and soundstage that I think for a plugin to really help, it would need to be able to analyze your whole headphone setup and make intelligent adjustments. I've never found any of the plugs useful.
All of this is kinda moot when it comes to playback systems. Stuff sounds different in Pro Tools when compared to the bounced file. The bounced file can sound largely different in each playback program. Audacity sounds a lot different then Foobar, for example. To me, foobar sounds like it's doing some kinda bit reduction even though I've looked and looked to make sure I'm not setting it that way. Comparing Audacity with Foobar is like comparing the 24 bit setting to the 16 bit setting in the dither section on a limiter like L1 or Oxford. I've no idea which program is supposed to be more accurate. Since no one really listens to 24-bit files aside from some people on the Steve Hoffman forum and similar places, I guess we really need to look at the 16-bit playback. 24-bit references are not exactly guaranteed to really represent the format correctly as well. I've downloaded a few 24-bit releases over the years made by HDTracks and similar places only to find the Waveform is completely brickwalled. My guess is that defeats the point of 24-bit audio. Playing non-brickwall 24-bit releases in Foobar made them sound identical to the regular cd for the most part. Hence I've never bought much HD audio aside from a few DVD-A and SACD releases that I found very underwhelming. Today I started experimenting with using the Oxford Limiter in 16-bit mode on all busses and the master fader. Sounded better to my ears and worked better in Audacity. I had regular L1s on the tracks and am not sure what bit-rate those default too since it isn't selectable like the ultra version. It seems that mixing with the limiters set to 16-bit is yielding better results for me when I set them back to 24. Just tried replacing all the L1s with Oxfords set to 16 and I'm liking it more. We'll see, I've only started doing this today.
There's also the question of portfolio. One reason I started learning how to do this was because studios around here either A) Had no samples or B) Only had samples showing a barebones, sterile production style that they applied to everything in their portfolio. None of their sites had any written explanations as to why I should pay them $40+ an hour or more. It was just "we worked with this person, we were nominated for this award, take a look at all our gear pics". Fortunately, I think it is possible to get things sounding good on soundcloud and similar places. It's also very possible for soundcloud to do all kinds of damage to your mix or master. Then somebody hears it and thinks their stuff is going to end up with soundcloud artifacts all over it.
When doing covers, even if it's just a karaoke track and a vocal I recorded, I just keeping messing with it until it's as close as possible to the reference cd. Sometimes I think positive brand association can help overcome problems with soundcloud and other tech stuff. If studios around here were recording covers of songs I liked and got them sounding very faithful to the originals, I may have been interested in hiring them years ago. Or even if they were just using production styles I liked on songs I never heard. It's a marketable skill, I suppose, if you can recreate something people want. On audio forums you always have people asking how to sound like this or that album. Isn't that how the business always worked? Someone comes up with a production style and then a bunch of acts want that sound for their albums.
At the end of the day though, is it possible to do any better than testing your mix/master on various systems and having it translate well? I guess the question is how difficult your monitoring system makes it for you to get there.
|
|
|
Post by viciousbliss on Jul 1, 2017 0:50:29 GMT -6
Have any of you guys tried this? It's only $59 for a few weeks. I like the results a lot better than any of the other tape sims(I don't count TapeDesk as a regular tape sim). When you crank the rec level to between 12-18 it is some of the best enhancement I've ever heard. The 7.5 option smooths stuff without ruining the highs. But this could be because I'm running it with TapeDesk w/N80, Dopamine, and Black Box. It reminds me of the feeling I get from the Oxford Limiter's enhance feature, but different and easier to integrate at high levels. Definitely takes things in the right direction when trying to make home recording tracks sound like a Rock or Metal album. I've not yet compared it to other Tape sims, but it's easy to tell this has way different sonic qualities. When you turn the rec level up on Satin, J37, AC202, and a lot of the others, it can drastically change the sound for the worse. VTM can kinda get smeary when turned up too. Softube tape was a step in the right direction but not up to par with Magnetite. HEAT is another one where it can go off in the wrong way. I was just listening to some 80s Paula Abdul on the original '88 cd and kept thinking how it sounded like someone put one of the tape sims on a good mix and dulled it and smeared it more than it should've been. On mastering some old local band demos from over a decade ago, Magnetite really made a difference on this Death Metal one. The vocalist is way too aggressive and has all this reverb that the music seems to lack. He's also too loud in the mix. Drums seem too compressed and lifeless. They should've had more room and less compression. Guitar had a pretty good tone but sometimes it seemed too not balance exactly either. It's kinda a lifeless, sterile recording too. Mix did not have much dynamics to it, more squashed than mastered albums by famous bands but not a total brickwall. Typical of what one would expect a band with no budget to get out of some home studio in 2006. Adding Magnetite to my existing chain and cranking the rec level while turning down the playback allowed me to blend the elements in the mix a lot better and get some more dynamics outta the snare. It's never going to be Death-Leprosy, but it sounds a lot less like a cheap demo from a local band now. Oddly, it seems to sound better on my soundcloud than playing the 24/96 file in Audacity.
|
|
|
Post by viciousbliss on Jun 24, 2017 18:55:23 GMT -6
Once again, I'm guessing everyone knew about the Sonnox sale. I tried and bought this literally a few hours before the sale ended after comparing it against L1, L2, L316, AOM Invisible Limiter, Vlad Limiter 6, Stealth, Limitless, Ozone, Flux Pure and Jungler, whatever other limiter I had or could get a demo for. Once I got a handle on the controls, this was the best thing for me. Most of the time I'm leaving Safe Mode, Auto Comp, and Auto Gain on. I'm not try to push this into loudness war territory, but I've heard it's good at that. The enhancement I'll usually set between 10-30%, so stuff sounds fuller but not overblown. It's like the Inflater, but more pleasing. Threshold might go to -2. Attack and Release I don't change much. Sometimes I'll move the soft knee up a tad, but not much. This thing seems to accomplish a lot without tons of tweaking. There's not much info out there on it, I looked all over. Supposedly it's a decent step up from V1.
|
|
|
Post by viciousbliss on Jun 24, 2017 18:45:49 GMT -6
www.bozdigitallabs.com/product/gatey-watey/I'm hoping most everyone here picked this up when it was free, but if not, it's a pretty minimal $10 cost last I checked and very useful. A gate that works on frequencies. I've had this bedroom track sent to me that I've used to test plugs on for the last couple years. The vocals have this fan noise that's very audible during parts of the song where it's only vocals-bass-drums. What this allowed me to do was finally remove it to the point where it's basically inaudible without any sort of noticeable compromise to the tracks. Worked a lot better than the gate on bx_console for this purpose. Looks like it's not some mini-version of the new Big Beautiful Door either. Is there any other gate that works like this? I've tried Expurgate, C1, and the gates in all the channel strips out there. There was that free A1 Triggergate too. I've yet to really test it. Don't see any frequency stuff on it.
|
|
|
Post by viciousbliss on Jun 24, 2017 18:35:25 GMT -6
A couple weeks back I did a bundle with the HG-2 Black Box, Sandman Pro, and a bunch of Bx_tuners. Came out to $164 because I got 60% off and they let me upgrade my Instant Delay to Sandman Pro for $29. Looks like they've placed Black Box on sale for $179, so you could get stuff even cheaper. I liked the Acme comp when I tried it, but I liked Vertigo VSC-2 even more. That's now my fav bus comp after trying just about every bus comp out there by the known companies. Instant Delay and Sandman Pro both do some crazy stuff and seem very versatile, kinda like the H3000 plug but with even more features. The Black Box for me is a game-changer. It can radically change things without much effort and really helps to get closer to a real album sound when using junky bedroom tracks. Lots of ability to fine-tune. If I recall, a lot of you guys here have already bought or tried it. But if you haven't, it may be a big help.
|
|
|
Post by viciousbliss on Jun 24, 2017 18:29:31 GMT -6
www.overloud.com/products/dopamineSince no one has posted about this plug, I thought I'd bring it up. Think it's about $76 at everyplugin.com I've been using it since it came out after not being impressed with how it sounds in the videos. The videos don't even begin to tell the whole story of what you can do with this. It's great at making things sound forward, smooth, full, and even without sounding harsh or squashed. Looks like it's emulating some sort of Dolby NR system that has to do with tape. I've been using it on everything and it's never made anything worse. Felt like a missing piece of the puzzle in my quest to get classic sounds with a computer.
|
|
|
Post by viciousbliss on Jun 24, 2017 18:26:28 GMT -6
Your welcome, John. I concur with everyone else. We are all thankful for this place. I generally try to post my new threads here as opposed to the bigger forums. Here you know someone worthwhile will be reading what you post.
|
|
|
Post by viciousbliss on Jun 12, 2017 14:43:55 GMT -6
I've redone my usual workflow again and thought I'd bring up 1176 usage. The redesign is basically just using bx_console on everything with the LPF turned off, not much of its compression, channel 1 or 1-2 on everything with the occasional exception, noise on, digital for everything except busses, stereo instrument tracks, and some pre-mixed instrumentals, some slight eq moves, and no gates. All analog saturation plugins removed except Tapedesk on tracks not recorded with tape, no busses. I find that putting a compressor before TapeDesk is better. Generally I'm turning off the mic pre and tolerance buttons and turning the record dial to about 3 o'clock. The only thing on the busses aside from bx_console are HG-2 Black Box and Vertigo VSC-2. Maybe pro-q2 as well. Before I almost always ran a CLA76 into a CLA2A. This time I ditched the CLA2A. It was bumping up some bassy frequencies that were hard to work with. I remembered that Fleming Rassmussen had said he ran the Metallica vocals into an 1176 and then to tape, so that's where I got the idea to try that. Much better.
Getting to the 1176 settings. I've always preferred the CLA76 Black over everything else. Just tried that new Overloud take on it. Very odd. The AnalogObsession Fetish was pretty different too. IK Black76 is not a favorite and that isn't changing now. The CLA76 just seems more ballsy and smooth compared to the others. I've tried the Softube FET before. It was pretty decent but not exactly what I wanted. Stillwell Rocket is kinda in the same boat, but a little too clean. The Slate versions weren't too bad but haven't tried them in a long time. PSP's Fetpressor is another I need to try. My go to setting used to be 4:1 with the attack at 1 and release at 7. Then I did some reading and end up using 20:1 with both things at 7 most of the time. That doesn't change with backing vocals. Although a lot of the time I will use the Blue CLA76 for backing vocals instead of black to give it some more excitement. BF76 was a lot better than I thought it would be. It's been a couple years but last time I used it, I thought it sounded pretty close to the CLA76 at times. Are there any other emus I'm forgetting?
Should also note that I did fader rides with Waverider, pretty much in its default settings where it's boosting low volume and cutting high volume stuff. Also did a lot of clip gain on some things. Anyone chain 2 1176s? It seems to work but I haven't really felt it was better. The only instrument I used an 1176 on is a snare. The CLA76 preset for a snare is a good starting point. All my latest sessions are not using any limiters. All the L1s and L2s are gone. If I used any other compressor plugins outside of 1176/VSC-2, it would be like an API2500 on drums and/or DBX160 on bass. I might be relying as much or more on Waverider, Black Box, clip gain, and Tapedesk to balance dynamics. I found that cranking a CLA76 could sound harsh or distorted in a bad way, so I looked to see what else could be done without it doing so much work.
|
|
|
Post by viciousbliss on Jun 8, 2017 16:02:19 GMT -6
This is probably the tape emulation I like best in terms of pure tape. Softube Tape doesn't do what Tapedesk does when you add the console, so they're not really the same thing. It essentially reigns in dynamics and smooths out the highs while getting the clarity just right. And that's without much tweaking. 15ips is more pleasing to me than 30. But, this is me using it in sessions that also feature HG-2 Black Box, Halcyon, Bx_console, Tapedesk with the N-80, and Nomad Pulsetec with the clipper on. All the other tape sims seem thinner than I would like. So far swapped in Satin, AC202, Magnetic II, VTM, Kramer Tape, and Abbey Road vinyl lite. Based on what I remember of Reelbus, Phoenix II, NLS, Iron Oxide 5/Classic, and J37, none of them do what Softube tape does. So far liking it better on mastering sessions than mixing, but I have to try some more things.
|
|
|
Post by viciousbliss on Jun 4, 2017 1:13:53 GMT -6
I tried this collection on one track so far, just the vocal bus and master fader. It's definitely of comparable quality to the top tube and sat plugs like Wave Arts Tube Sat, Radiator, SDRR, and Nomad's BBE. I'll test it and the HG-2 some more tomorrow.
|
|