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Post by Martin John Butler on Nov 25, 2023 17:41:27 GMT -6
Installing UAD plugs used to take one minute. Now, I can't even figure out HOW to install them. I do have the native versions of the plug-ins I've bought for use with the Apollo. It's been a while, but I don't recall any issue downloading them.
I went for the $99 bundle, got the Sound City room and the Capitol mastering compressor. I couldn't really tell if they were DSP or native when buying. Either way, it shouldn't be so complicated. I went to UAD Connect, and got nowhere.
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Post by Martin John Butler on Nov 25, 2023 12:36:02 GMT -6
I want to get the Sound City plug-in as part of the UAD two for $99 sale. I need thoughts on picking the other plug. I've always wanted the CL1b, but I have at least a 1/2 dozen good compressors, all the 1176's, LA2A's, Klanhelm, the UAD 176 (which I really like).
I'm thinking of an SSL channel strip, the CL1b or the Capitol Chambers mastering compressor. I've been using Logic's DBX compressor on my 2 bus for the last coupe of albums, and it works well, but the Capitol Chambers might be an upgrade.
Any suggestions?
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Post by Martin John Butler on Nov 24, 2023 9:58:48 GMT -6
Anyone know how long the UAD 2 plugs $99 sale will go on for? The sale is for native, not UAD's DSP, but I figured this might be a good way to get the Sound City plug without over-spending on something I may never use. Since I do use the Ocean Way plug a lot as just a room reverb, I'm thinking I might like the Sound City room better.
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Post by Martin John Butler on Nov 11, 2023 12:55:36 GMT -6
I'd love to hear a comparison between this mic and the New 1973 Soyuz, they sound quite similar from these samples.
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Post by Martin John Butler on Nov 6, 2023 12:26:21 GMT -6
The only plug-in I feel I have to have is the UAD ATR-102. I could do an entire album with that plug-in alone. Martin, What does that bring to the table? Cheers, Geoff There are two presets that can do most everything you need. The 30 ips mastering and the "Smooth Vocal". I typically use the Smooth Vocal on my 2 bus. First, just do a good basic mix without it, then use one of those presets on the 2 bus, turn it on, and it's obvious what it's doing. There's enough gain to do without compression if you wanted to and still get enough level to send for mastering. What's great about the ATR-102 is it isn't heavy handed. Everything just sounds a little better. Tracks instantly go from "demo" to pro with it. Perhaps it's simply the tape saturation/compression thing, i wouldn't know. Then there's the versatility, All sorts of effects can be had by adjusting parameters. I get better tape delay on the ATR-102 than from any of my delay plug-ins. It can naturally help tame transients on guitars, improve bass guitar weight and has some special effects. If ever there should be something named Bettermaker, it should have been the ATR-102. Also, I love that I can cut the tape noise completely, or sprinkle in a little to taste. By the way, I don't like the UAD Studer. I used Studer's for years, and UAD's bugs me. Their Oxide is especially good on bass if you happen to have it. Studer
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Post by Martin John Butler on Nov 5, 2023 20:02:42 GMT -6
The only plug-in I feel I have to have is the UAD ATR-102. I could do an entire album with that plug-in alone.
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Post by Martin John Butler on Nov 5, 2023 20:00:31 GMT -6
Not sure, but I think it was a one-off.
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Post by Martin John Butler on Oct 31, 2023 12:06:54 GMT -6
I had the Ref C for a few days. It was obviously a high end mic, sounded very good, but I preferred other brands. There was something about it that bugged me.
My Stam SA47 sounds better, the SA67 sounds better. The Soyuz 0-19 FET had better balance, even though it's not their tube version.
If someone says they like the Manley, well OK, it's not unreasonable. If was buying a new high end mic though, I'd much rather have the Chandler REDD, the Soyuz 0-17, or the Stam SA47.
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Post by Martin John Butler on Oct 31, 2023 1:58:39 GMT -6
Thanks skav.
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Post by Martin John Butler on Oct 30, 2023 16:47:46 GMT -6
Hmm.. I'll wait to see what Black Friday offers. I wonder if the UAD version is the Mk II version..
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Post by Martin John Butler on Oct 30, 2023 10:43:49 GMT -6
Is the UAD CL1b plug-in the same as the Softube?
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Post by Martin John Butler on Oct 27, 2023 21:02:35 GMT -6
A pair of the Soyuz SDC's costs around $1,200.
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Post by Martin John Butler on Oct 24, 2023 7:08:35 GMT -6
The Cl1b is similar to the LA2A, so you're kind of comparing different types of apples, not apples to oranges. I've had better final results with the CL1b. Better results whilst tracking? I only used it for mixing, haven't racked with it yet.
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Post by Martin John Butler on Oct 23, 2023 13:04:42 GMT -6
The Cl1b is similar to the LA2A, so you're kind of comparing different types of apples, not apples to oranges. I've had better final results with the CL1b.
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Post by Martin John Butler on Oct 22, 2023 19:18:54 GMT -6
I used the CL1b for the first time on a vocal around six months ago. The studio I was in also had all the vintage high end compressors we often discuss here. At first listen, I thought it was too grabby. But when I put it in the track something happened I didn't expect. It just sat there perfectly, sounding way more finished and pro than I'd gotten using the usual vintage cast of characters. The studio owner ranks the Chandler as his favorite compressor, but chose the CL1b for my voice.
In listening to many of the demos online, the Tube Tech does exactly what the one I used did. The Warm still sounded unfinished to me. I wanted the WA1b to be great, wanted it to sound as good as the Tube Tech, even if slightly different, but it just sounded too plain in the middle, as if part of the signal wasn't being compressed. It's been a very impressive rollout and media campaign though.
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Post by Martin John Butler on Oct 12, 2023 12:38:36 GMT -6
That's true Eric. I had a band very close to a deal once. The players were great, had been with major artists and bands, but I just couldn't afford to keep paying the band to keep it together.
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Post by Martin John Butler on Oct 12, 2023 11:09:36 GMT -6
Well, it's still possible to get a group of great musicians in a good room, it just takes the will and usually quite a bit of money. Chris Stapleton does it, but it's certainly the exception to the rule. I would love to do basic tracks with a few guys in a room and then do overdubs, vocals and mixing at home. That way at least the spark of energy and authenticity is there at the beginning.
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Post by Martin John Butler on Sept 17, 2023 14:35:23 GMT -6
I wish I'd kept my Blackspade UM-17B and R. The B was a dead ringer for an M49, the R was like an M49 and U47 had a baby.
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Post by Martin John Butler on Sept 16, 2023 14:08:06 GMT -6
Are people still buying gear?? Nope, I'm selling gear. $21,000 recent medical bill.. ugh...
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Post by Martin John Butler on Sept 15, 2023 16:05:30 GMT -6
Compared to the 24 tk 2" Studer tape recorder for example. There was just something about it that your body felt, words don't do it justice. Can't say I'm an expert on analyzing bass done with modern music tools for processing bass though.
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Post by Martin John Butler on Sept 14, 2023 20:45:22 GMT -6
2" 16 track, best bass ever.
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Post by Martin John Butler on Sept 12, 2023 20:31:16 GMT -6
Yeah, I did forget to mention all those recordings were done using tape recorders. Personally, I can't go back to tape machines at home, but I'd give it a go if I was in a great studio with a good engineer, some great mics and a smokin' band.
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Post by Martin John Butler on Sept 12, 2023 0:06:09 GMT -6
I'd record 90% like this if I could afford it.
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Post by Martin John Butler on Sept 11, 2023 23:46:22 GMT -6
It didn't sound like bullshit when I was in some of the finest studios in the world when I was younger. I've heard productions by the same engineer, one with dozens and dozens of different preamps, and the other on a Helios console. One sounded perfect and natural, the other over-processed. Of course the artist was different, but my ears noticed a significant difference.
I'll take one console any day, but I can't afford that anymore. Besides, I use different mics regardless of whether it's a console or separate preamps, so I don't understand your last statement.
I've been in the studio when Steve Winwood recorded Back in the Highlife with Nile Rogers, recorded on the same console that Jimi Hendrix recorded on at Electric Lady through his Marshall 100, sat in for mixes of Brad Paisley, Neo, James Blunt, done through a giant Neve. I've recorded at Bell Sound, Plaza Sound, Unique Recording, and a dozen other great studios. Listened to early mixes of Blondie, Talking Heads "Once in a Lifetime", and the Rolling Stones all with one console EQ, Neve, API, Trident and others.
I'm not saying you can't sound great and have a very interesting color palette using different preamps, just that there was something about the cohesion of those classic records like Pink Floyd's great albums that has never been surpassed IMO.
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Post by Martin John Butler on Sept 11, 2023 14:14:54 GMT -6
My friend Mitchell Stuart created a show called Striped-Raw and Real. It was done through Clear Channel around 20 years ago. He recorded and filmed dozens of A list stars live in the studio. Everyone from Taylor Swift to Kanye West, Brad Paisley, Big and Rich, Velvet Revolver, Sarah McLachlan, Neo and dozens more. No one complained about using "just" the giant Neve console.
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