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Post by FM77 on Sept 24, 2024 10:30:52 GMT -6
I appreciate the demo Matt - it does confirm my own experiences in that in that it over saturates and bloats a bit too much for my taste. I think it takes away dynamics often. That is my personal take. But that aside, your tracks are basically clean to start with, but why use such a heavy grunge/distorted bass tone as a base to demonstrate a tube comp? I mean that respectfully, but there are no dynamics to start with. And no real playing, just some rando notes. With that as a starting point, it wouldn't have mattered what comp you used. Curious what the intent was? I should probably just start saying this in every review like this: My take on doing reviews for things like hardware is to give people an idea of what it sounds like. This isn't a mix tutorial, this is a demonstration of what the plugin sounds like. I picked settings that sounded colorful on everything but weren't too "over the top", stacked it over everything and the mix bus, so that by the time you get to the end of the video with the full song, it's pretty clear what the plug-in is imparting sonically. I'm not trying to make a good mix, if I have to make the mix sound worse to get a sonic point across and make something easier to hear, then that's what needs to happen. Like you said, you felt like the saturation bloated things too much for your liking. Maybe that means this isn't for you. Great, I did my job! I'm not always good at this, but I try really hard not to inject too much opinion into a lot of these reviews. I'm some dumb schmuck in the woods in Arkansas, I honestly don't think anyone should care what I think, and I have no desire to be an "influencer". I try to do honest demonstration so people can walk way feeling like they have an opinion. As far as stuff like the bass tone, I'll preface it by saying I'm not a bassist  . It's one of my least favorite things to do in situations like this where I have to do it. Tone is subjective, but you have to remember that the song I picked was originally review files from the Soyuz Ambisonic mic demo. I had one single mic to mic up a drum set, I have very little control over tweaking that sound in post. It can be extremely difficult to get bass and drums not to bury each other when you do minimal mic'ing. That bass tone was what needed to happen to give the kick room to breath and have the bass still come through the mix. It's not like I can go in mix the kick separately to get it to play with the bass. Maybe I could have picked a song with a more appropriate bass tone for the UnFairchild, but it is what it is. I still think that by the end of the video when you get to the full mixes, it's pretty obvious what the Unfairchild is doing to the bass once you have a full context. It's especially audible to me when listening to the bass guitar and low end in general and how different things sound with the UAD and UnFairchild mixes. They're both being processed very similarly on their own, but once in context with everything else, there's a big difference. Last thing I'll say, I'm never as thorough on plug-in reviews as I am with hardware. In the time it takes us to have an exchange on a forum, either one of us could have just downloaded the plug-in and tried it. Look at the review I did on the Heritage Grandchild hardware, I'm a lot more thorough and include multiple settings and examples on every instrument and mix. I take the time to do that on the hardware because it's much harder (or impossible) for people to try physical stuff. I just didn't have any "intent" as far as choosing this song, it's just what I picked. If you weren't getting what you needed from my bass guitar example, do the free trial and try the plug-in . The only reason you should be watching my video is to decide if it's worth your time to demo it.
I think you read much more into my reply than was there Matt. I was just curious about the bass tone - since you used it as a dedicated 'isolated' tone example.
Hard to tell anything from your choice of tone, so I asked you what the intent was. Nothing more. I have no comments on mix.
I have already used the plugin for several days, on mixes and individual tracks. I left my thoughts a few posts back.
Carry on man.
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Post by Johnkenn on Sept 24, 2024 10:35:07 GMT -6
I am happy to answer any questions might have about it  I just noticed the reflection of you sitting at your computer on the second VU meter. Do I win a bag of sweetwater candy for noticing the easter egg? No…sorry. No free plugins. But you do get a free HW unit. |
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Post by andersmv on Sept 24, 2024 10:40:43 GMT -6
I should probably just start saying this in every review like this: My take on doing reviews for things like hardware is to give people an idea of what it sounds like. This isn't a mix tutorial, this is a demonstration of what the plugin sounds like. I picked settings that sounded colorful on everything but weren't too "over the top", stacked it over everything and the mix bus, so that by the time you get to the end of the video with the full song, it's pretty clear what the plug-in is imparting sonically. I'm not trying to make a good mix, if I have to make the mix sound worse to get a sonic point across and make something easier to hear, then that's what needs to happen. Like you said, you felt like the saturation bloated things too much for your liking. Maybe that means this isn't for you. Great, I did my job! I'm not always good at this, but I try really hard not to inject too much opinion into a lot of these reviews. I'm some dumb schmuck in the woods in Arkansas, I honestly don't think anyone should care what I think, and I have no desire to be an "influencer". I try to do honest demonstration so people can walk way feeling like they have an opinion. As far as stuff like the bass tone, I'll preface it by saying I'm not a bassist . It's one of my least favorite things to do in situations like this where I have to do it. Tone is subjective, but you have to remember that the song I picked was originally review files from the Soyuz Ambisonic mic demo. I had one single mic to mic up a drum set, I have very little control over tweaking that sound in post. It can be extremely difficult to get bass and drums not to bury each other when you do minimal mic'ing. That bass tone was what needed to happen to give the kick room to breath and have the bass still come through the mix. It's not like I can go in mix the kick separately to get it to play with the bass. Maybe I could have picked a song with a more appropriate bass tone for the UnFairchild, but it is what it is. I still think that by the end of the video when you get to the full mixes, it's pretty obvious what the Unfairchild is doing to the bass once you have a full context. It's especially audible to me when listening to the bass guitar and low end in general and how different things sound with the UAD and UnFairchild mixes. They're both being processed very similarly on their own, but once in context with everything else, there's a big difference. Last thing I'll say, I'm never as thorough on plug-in reviews as I am with hardware. In the time it takes us to have an exchange on a forum, either one of us could have just downloaded the plug-in and tried it. Look at the review I did on the Heritage Grandchild hardware, I'm a lot more thorough and include multiple settings and examples on every instrument and mix. I take the time to do that on the hardware because it's much harder (or impossible) for people to try physical stuff. I just didn't have any "intent" as far as choosing this song, it's just what I picked. If you weren't getting what you needed from my bass guitar example, do the free trial and try the plug-in . The only reason you should be watching my video is to decide if it's worth your time to demo it.
I think you read much more into my reply than was there Matt. I was just curious about the bass tone - since you used it as a dedicated 'isolated' tone example.
Hard to tell anything from your choice of tone, so I asked you what the intent was. Nothing more. I have no comments on mix.
I have already used the plugin for several days, on mixes and individual tracks. I left my thoughts a few posts back.
Carry on man.
Sorry… 😂. That was all baked in at the amp, I committed to the tone during tracking because it fit well in the song. There’s not any plugin distortion or anything going on that I could take off, it was mic on amp to get the part to sit in the song properly. |
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Post by Johnkenn on Sept 24, 2024 10:53:12 GMT -6
Whoo Pig
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Post by Johnkenn on Sept 24, 2024 10:55:07 GMT -6
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Post by andersmv on Sept 24, 2024 11:59:18 GMT -6
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Post by Johnkenn on Sept 26, 2024 14:23:09 GMT -6
Hey ev33 - Any way to get a thing like Pulsar has where you can select the Oversampling on bounce? |
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spud
Junior Member
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Post by spud on Sept 26, 2024 14:52:55 GMT -6
Hey ev33 - Any way to get a thing like Pulsar has where you can select the Oversampling on bounce? yes that would be great! Besides this option should be available in all plugins developed by Mr Kiive. |
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Post by Dan on Sept 28, 2024 16:54:59 GMT -6
I don't find their Distressor plug in to be that great at all. Their Compex one is solid, but the bar is pretty low with the Bendeth one. FWIW, I found that the 'trick' to their distressor plugin is to totally disable the lower section (warmth and saturation), which are on by default. That helps get the thing into a more distressor-like place pretty quick, and then, it does a good job on certain sources. It's definitely better at more midrange-focused stuff, and doesn't react quite as accurately to more LF-heavy stuff (eg - it's quite good at doing a Distreossor thing on snares, but on kicks, it doesn't perform nearly as well) PSP Fetpressor is similarly like that. The high pass filter has to be engaged to not get silly, random behavior on many sources. Maybe the algorithms have lots of internal distortion that cannot handle modulating low frequency content. |
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Post by phantom on Sept 30, 2024 15:18:49 GMT -6
Huge price drop. Only $99 now.
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Post by Johnkenn on Sept 30, 2024 17:18:11 GMT -6
Yeah. I might grab it now. It’s a little thumpier than the UAD and Magic Death Eye.
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Post by Johnkenn on Sept 30, 2024 17:20:31 GMT -6
That video is really interesting. Man - the plugin market must be completely saturated. I guess that’s good news for affordable hardware manufacturers. When you can buy a Behringer 369 for $499, it’s hard to justify the new $349 UA plug…that I can never transfer.
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Post by Johnkenn on Oct 1, 2024 11:25:37 GMT -6
What do the different VAR numbers differentiate? I thought VAR just let you use your own attack and release settings - but why are there 4 VAR options?
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Post by andersmv on Oct 1, 2024 12:42:12 GMT -6
What do the different VAR numbers differentiate? I thought VAR just let you use your own attack and release settings - but why are there 4 VAR options? I'll post a picture from the hardware manual so you can see all the settings. Each of the variable presets is still covering a smaller chunk of attack and release times, so you can fine tune within those ranges a bit easier with the extra attack and release controls. I always thought it was a much better decision than putting the entire, massive range of times on the smaller dials.  |
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Post by bobeschism on Oct 1, 2024 13:10:55 GMT -6
Huge price drop. Only $99 now. AND a refund of the difference to the early adopters who paid the original price! Damn, that makes me love EV even more. Wish more companies cared about their customers like this.
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Post by Johnkenn on Oct 1, 2024 13:52:16 GMT -6
For real. I'm gonna buy because of that alone.
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Post by Johnkenn on Oct 1, 2024 18:47:19 GMT -6
I've been so busy I really have only been using on bass. Just slapped it on a vocal, and it is really, really good.
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ev33
Full Member
Posts: 32
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Post by ev33 on Oct 2, 2024 8:38:17 GMT -6
ev33 on vacation so haven't installed the plug, but curious if you incorporated the accessory box into the functionality of the plugin? Most of the functionality of the Accessory are in there. The only thing it doesnt have is feed forward. Getting the sound of that right was a whole other can of worms I couldn't tackle considering how long it took to get the conventional FeedBack compression sounding right. I am rebuilding my stamina for working on this thing as we speak and i intended to add it on the furutre EV |
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ev33
Full Member
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Post by ev33 on Oct 2, 2024 8:43:40 GMT -6
Sometimes I struggle to hear any tonal changes with plugs…not with this thing. I tried it on my vocal yesterday….vs the UAD. Certainly a different sound. I don’t want to use a negative adjective….so keep that in mind….it was a bit more sizzly. It didn’t really work for that vocal. Could be I am just tooooo familiar with the UAD as I have been using it for years and so familiar with it on my voice. Will give it more of a go today. I have never seen a real Fairchild let alone used one. perhaps the UTA plug has more harmonic distortion…..they certainly have differing operating levels…. Eric…..is there a nominal dBfS that this plug likes to see ? cheers Wiz Yes! My system is calibrated so +4 analog = -18dBfS. There is an output VU calibration for the plugin you can find when you click on the UTA logo in the upper left corner. If your system is calbrated anywhere close to -18 and your tracks are peaking in -6 to -3 range you should be able to get plenty of compression |
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ev33
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Post by ev33 on Oct 2, 2024 8:47:57 GMT -6
I am happy to answer any questions might have about it I just noticed the reflection of you sitting at your computer on the second VU meter. Do I win a bag of sweetwater candy for noticing the easter egg? Do you have a Vari-Cap cable? |
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ev33
Full Member
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Post by ev33 on Oct 2, 2024 9:00:22 GMT -6
Hey ev33 - Any way to get a thing like Pulsar has where you can select the Oversampling on bounce? that is a good question! I'll ask Eddie if that is possible. It totally makes sense. |
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ev33
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Post by ev33 on Oct 2, 2024 9:12:25 GMT -6
What do the different VAR numbers differentiate? I thought VAR just let you use your own attack and release settings - but why are there 4 VAR options? The time constants on a Fairchild circuit are derived from a combination of both capacitors and resistors. The capacitor affects both the attack AND release times while a resistor can affect the attack or release individually. The original 6 presets are various dedicated combinations of capacitors and resistors. The "VAR" settings allow to create you own combinations of capacitors and resistors. Each of the 4 VAR settings is changing the capacitance. VAR1 is a capacitance that is half of what is used in presets 1 & 2 so VAR1 allows you to get an attack time faster than what is available in the original presets. Each progressive VAR setting doubles the capacitance and consequently both the attack and release will get slower. The Attack and Release controls are adding resistance to either the attack or release of the signal. Added resistance also slows the timing. This allows you to create unique combinations of attack and release timings. I typically will use VAR1 or 2 and slow down either the attack or release with the resistance of the ATTACK/RELEASE controls. I thought it was cool to be able to come up with your own capacitor/resistor Time Constant presets |
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Post by andersmv on Oct 2, 2024 9:40:59 GMT -6
I just noticed the reflection of you sitting at your computer on the second VU meter. Do I win a bag of sweetwater candy for noticing the easter egg? Do you have a Vari-Cap cable? I do, it gets used a lot! |
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Post by Johnkenn on Oct 2, 2024 10:03:42 GMT -6
Do you have a Vari-Cap cable? I do, it gets used a lot! Don't think he has an Unfairchild... |
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Post by andersmv on Oct 2, 2024 10:13:29 GMT -6
I do, it gets used a lot! Don't think he has an Unfairchild... I mean, I'll take one for the team here. My power bill is definitely going to go up, I hear this new fangled solid state stuff is more efficient and has a lot more headroom... I'm worried it will just be a door stop. |
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. It's one of my least favorite things to do in situations like this where I have to do it. Tone is subjective, but you have to remember that the song I picked was originally review files from the Soyuz Ambisonic mic demo. I had one single mic to mic up a drum set, I have very little control over tweaking that sound in post. It can be extremely difficult to get bass and drums not to bury each other when you do minimal mic'ing. That bass tone was what needed to happen to give the kick room to breath and have the bass still come through the mix. It's not like I can go in mix the kick separately to get it to play with the bass. Maybe I could have picked a song with a more appropriate bass tone for the UnFairchild, but it is what it is. I still think that by the end of the video when you get to the full mixes, it's pretty obvious what the Unfairchild is doing to the bass once you have a full context. It's especially audible to me when listening to the bass guitar and low end in general and how different things sound with the UAD and UnFairchild mixes. They're both being processed very similarly on their own, but once in context with everything else, there's a big difference. 
