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Post by superwack on Jan 12, 2021 11:47:05 GMT -6
I’m really excited about this but I’ll probably wait to demo it until it’s $79 or something in a couple of months. Hope they optimized the oversampling or, better yet, added an offline OS option. Speaking of that, did you see the latest DDMF Metaplugin has increased its IIR/FIR OS options - adding 16x and also offline OS up to 64x? Could be interesting/useful Does it have an ultrasonic filter like the old TDR plug VladG made? doesn't seem to but it is a 'chainer' so you could add one theoretically. I tried using that old TDR plugin but it's not compatible with Catalina. Airwindows has one called ultrasonic but it's not the same as the TDR plug (it's just a steep 5-pole lpf at 20k not linear phase like the VladG one) Wish Fabien would update that. |
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Post by soundintheround on Jan 12, 2021 12:13:31 GMT -6
What about the Acustica Acqua stuff? Some of their channel strips even have multiple preamps of the same type sampled to recreate varying tolerances. Yeah, their stuff sounds great for this, but it obviously murders your CPU. Gold (Neve), Pink (API), and Cream (EMI) are especially good at this b/c they have a lot of different channels/pres sampled. But again, impractical for most of us (unless just pre-processing all your tracks through the various pres/line amps). I agree the Acustica stuff can be used as a good 'Mixing Tool'....(if you have a super computer, and watch out for the many unadvertised quirks). But a terrible production tool as it requires a high buffer and many other issues. In general a console emulation 'plugin' (as you are describing) is just something to add distortion/frequency response/etc...? If so there any things out there for this. But I find the best is just to record your tracks into the DAW with this analog-mojo already there. Then you don't have to add it later. For Console Emulation.... (as it relates to the real thing, which gets you very quick workflow/eq/utility functions), I find Softube Console pretty good. Looking forward to trying LUNA. |
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Post by Deleted on Jan 12, 2021 22:34:17 GMT -6
Yeah, their stuff sounds great for this, but it obviously murders your CPU. Gold (Neve), Pink (API), and Cream (EMI) are especially good at this b/c they have a lot of different channels/pres sampled. But again, impractical for most of us (unless just pre-processing all your tracks through the various pres/line amps). I agree the Acustica stuff can be used as a good 'Mixing Tool'....(if you have a super computer, and watch out for the many unadvertised quirks). But a terrible production tool as it requires a high buffer and many other issues. In general a console emulation 'plugin' (as you are describing) is just something to add distortion/frequency response/etc...? If so there any things out there for this. But I find the best is just to record your tracks into the DAW with this analog-mojo already there. Then you don't have to add it later. For Console Emulation.... (as it relates to the real thing, which gets you very quick workflow/eq/utility functions), I find Softube Console pretty good. Looking forward to trying LUNA. The point is glue. You can build up an insane glue that you can’t get for things not recorded in the same room to a console. We’ve had fake rooms for decades. Then we received fake tape. Now we have fake consoles. I haven’t found any straight “console” plug that can do it all. The Lindell 80, Britson, and SDRR 2 desk came closest but still aren’t there. The ones with stereo crosstalk fill out the image nicely as theshea pointed out with SDRR2. The ones that don’t, don’t have this effect. Pretty cool analysis www.gearslutz.com/board/showpost.php?p=15226551&postcount=3732 |
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Post by Bat Lanyard on Jan 16, 2021 23:32:52 GMT -6
Dan has it nailed. No shitting on plugins, I use them, but Dan's in search of a sound and that isn't going to happen magically from a console plugin. |
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Post by viciousbliss on Jan 25, 2021 20:50:43 GMT -6
Another thing you guys can try is the Vertigo VSE-2 across busses and some stereo tracks. Just a light use. Set the filter to around 30-40, air +1, then decide if you want to add anything else. Leave harmonics at default. It really cleaned up the mud and enhanced clarity without making anything sound brittle. SDRR2 with drive to 1, medium crosstalk, and everything else default works really well on a pre-master aux inserted after the VSE-2. Lindell 80 at 16x from a 44k session sounds bigger and clearer than at 2x, though I didn't think 2x sounded bad(though I left everything at default, generally turned off the gate and comp, and just turned the filters to 45 and 18). Channels 23-24 is just like Dan said it is. Though I'll use other channels on some tracks from time to time. Using bx console N instead when I couldn't get my license to activate was pretty good as well. I've pretty much removed Britson from my sessions for the most part. Not really using any of the BX consoles on mono tracks. Just stuck UAD Prec Strip on everything. Got both Tverb and Ocean Way reverb mode going with all tracks sent to them post-fader now. The 3 Cranesong plugins are still all over my stuff, so they're probably playing a big part. Another thing I just did was remove the H3000 from my vocal busses. Hornet Tape set to 2x in Metaplugin most often seems to work best for me across the master fader. It doesn't change the sound as much as Satin or the UAD 102 right off the bat.
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Post by cjduran on Jan 6, 2022 13:16:50 GMT -6
Not channel strips. Those are cool and Infinistrip is probably the most flexible one and the Plugin Alliance ones the cleannest with any vibe but what works magic on a stereo bus? What’s best? What gives you the warmth and center image? I’ve tried: SDRR2 Desk, HQ+ on for linear phase oversampling, two stages, medium cross talk on stereo bus. This gives me a solid center image with some drive but can be gritty in the upper mids. Slight aliasing. Lindell 80 bus: this has the warmth, width, and crispness but not the thickness. I love it on drum bus but I don’t get it on guitars and vocals. If you don’t choose a good channel pair or link them, TMT can cause big stereo drift. Waves NLS: No solid central image but super wide and gritty when pushed. It sounds like if a cheap digital console had analog components and you could break up. Britson bus: now this is what I’m talking about. It has the gooey gel and the fatness but affects depth in a not great way. Aliasing in the air? Waves CLA: Mixhub. Wtf is this? Slate VCC bus: Has the central image and sheen but depth isn’t great. Sounds too digital. Fuse TCS-68: This is so cool but so lofi. It’s pretty much instant good 80s-90s demo quality that got pressed. Drive it right and turn on crosstalk on anything stereo and you can get the sides to just fold in a super cool way. Think Wu-Tang and Darkthrone. Any others worth checking out? Noiseash Neve? UAD Luna? I hope Goodhertz Tupe is great Background: This project I’m working on only has two L and R guitar tracks. Well randomly sticking SDRR 2 desk as the final plugin on low drive feeding into the above settings on the bus saved me a ton of time carefully setting delays. I got the guitars to fill the image in a nice wall of sound cranked amp style. But want a less pushed / harsh alternative for future projects and am not 100% satisfied with anything I’ve tried. Hi Dan,,, Have yo tried BRITSON BUS with diferente crostalk.. Using Modern ...  i think Vintage has that depth problem... |
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Post by notneeson on Jan 6, 2022 14:55:36 GMT -6
Dan has it nailed. No shitting on plugins, I use them, but Dan's in search of a sound and that isn't going to happen magically from a console plugin. I have found that using similar enough, discrete transformer balanced pres on basically everything gets you a long way towards achieving this goal. You still need great sounds and good acoustics, of course. Sometimes I ponder messing around with Avid Heat again, as the Cranesong saturation products are so revered, but I'm not sure I need too. Also, it's really easy to overdo it with the saturation on every channel thing. Cross talk and channel variance I'm just not that bothered about. |
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Post by deaconblues on Jan 6, 2022 15:45:14 GMT -6
Dan has it nailed. No shitting on plugins, I use them, but Dan's in search of a sound and that isn't going to happen magically from a console plugin. I have found that using similar enough, discrete transformer balanced pres on basically everything gets you a long way towards achieving this goal. You still need great sounds and good acoustics, of course.... Definitely what he said. I added a pair of Chandler TG2 500s to just about everything I do, not even pushed hard, and it definitely makes a not subtle difference as the tracks pile up. |
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Post by Bat Lanyard on Jan 6, 2022 16:08:08 GMT -6
I have found that using similar enough, discrete transformer balanced pres on basically everything gets you a long way towards achieving this goal. You still need great sounds and good acoustics, of course.... Definitely what he said. I added a pair of Chandler TG2 500s to just about everything I do, not even pushed hard, and it definitely makes a not subtle difference as the tracks pile up. I have the TG2's as well (rack) deaconblues and totally agree. Great pres. |
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Post by thehightenor on Jan 6, 2022 16:20:27 GMT -6
I used Slate VCC on my previous album and I was reasonably happy with the results.
Ultimately, I gave up on the idea that 0's and 1's were going to get me the sound of analogue summing
and decided to invest in hardware for my stereo mix bus and I think it's been a better compromise in lieu of an actual console.
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Post by notneeson on Jan 6, 2022 17:23:26 GMT -6
Definitely what he said. I added a pair of Chandler TG2 500s to just about everything I do, not even pushed hard, and it definitely makes a not subtle difference as the tracks pile up. I have the TG2's as well (rack) deaconblues and totally agree. Great pres. I used to have everyday access to the rack version, love that pre. |
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Post by craigmorris74 on Jan 6, 2022 18:25:07 GMT -6
Dan has it nailed. No shitting on plugins, I use them, but Dan's in search of a sound and that isn't going to happen magically from a console plugin. I have found that using similar enough, discrete transformer balanced pres on basically everything gets you a long way towards achieving this goal. You still need great sounds and good acoustics, of course. Sometimes I ponder messing around with Avid Heat again, as the Cranesong saturation products are so revered, but I'm not sure I need too. Also, it's really easy to overdo it with the saturation on every channel thing. Cross talk and channel variance I'm just not that bothered about. I'm doing this and I've been even happier with the finished sounds when running every source through a transformer based EQ and compressor, sometimes doing nothing. The signal path can have six or seven transformers to go through, plus all the discrete circuitry in between. Makes mixing way more easy because the sound is already baked in. |
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Post by notneeson on Jan 6, 2022 18:42:20 GMT -6
I have found that using similar enough, discrete transformer balanced pres on basically everything gets you a long way towards achieving this goal. You still need great sounds and good acoustics, of course. Sometimes I ponder messing around with Avid Heat again, as the Cranesong saturation products are so revered, but I'm not sure I need too. Also, it's really easy to overdo it with the saturation on every channel thing. Cross talk and channel variance I'm just not that bothered about. I'm doing this and I've been even happier with the finished sounds when running every source through a transformer based EQ and compressor, sometimes doing nothing. The signal path can have six or seven transformers to go through, plus all the discrete circuitry in between. Makes mixing way more easy because the sound is already baked in. Totally! I think I mentioned this before, but I’ve worked on 1608s several times and have gotten into instantiating all the EQs even if they’re set flat. |
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Post by Guitar on Jan 6, 2022 18:42:43 GMT -6
+5 for transformer gear on inputs. Same thing here (except for my drums, which will be a big project to build that many channels.)
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Post by srb on Jan 6, 2022 20:02:43 GMT -6
+5 for transformer gear on inputs. Same thing here (except for my drums, which will be a big project to build that many channels.) How many channels on drums for you typically? |
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Post by Guitar on Jan 6, 2022 20:23:20 GMT -6
+5 for transformer gear on inputs. Same thing here (except for my drums, which will be a big project to build that many channels.) How many channels on drums for you typically? I was doing 10 for a long time, and it snuck up to 11 recently when I added a mono overhead. Just for the hell of it: Narrow ORTF overhead pair, mono overhead in the middle, 3 toms, snare top, Mid/Side front of kit thing/room (2 mics), and 2 mics on the kick one in one out. I'm really happy with drum sounds, although I've been using Superior Drummer more lately for convenience. Mic preamps are 16 channels of Yamaha MLA-8. Some fateful day... I'll build a bunch of Neve/API/Focusrite/Something to replace them. |
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Post by srb on Jan 6, 2022 20:30:28 GMT -6
How many channels on drums for you typically? I was doing 10 for a long time, and it snuck up to 11 recently when I added a mono overhead. Just for the hell of it: Narrow ORTF overhead pair, mono overhead in the middle, 3 toms, snare top, Mid/Side front of kit thing/room (2 mics), and 2 mics on the kick one in one out. I'm really happy with drum sounds, although I've been using Superior Drummer more lately for convenience. Mic preamps are 16 channels of Yamaha MLA-8. Some fateful day... I'll build a bunch of Neve/API/Focusrite/Something to replace them. 11 here, too: 2 Kick 2 Snare 2 Toms 2 (Stereo ribbon overhead [SF12]) 2 Room ribbons in Blumlein [AEA R44] 1 Hats The 44's are the most recent addition. It's been great for the drum sounds here. |
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Post by Johnkenn on Jan 6, 2022 22:24:57 GMT -6
I use VCC Neve on every Pro Tools mix. But the Luna Neve is really nicer.
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i think Vintage has that depth problem...
