|
Post by Mister Chase on Dec 6, 2018 13:37:41 GMT -6
I suggest taking more time with the ampex atr 102. It's far deeper and has more variety then the Softube Tape plugin which is fine in its own right.
I think there are about 6 or 7 tape types to choose from, 4 tape speeds, 3 tape widths. All the electronic controls to align the machine the way you want. Very different characteristics depending on how you push it, and I think built in delay features.
Just a great plugin for the 2 bus. I brought a mix over the edge to great with that last night. Easy to do.
|
|
|
Post by cowboycoalminer on Dec 6, 2018 16:16:50 GMT -6
I really wish they'd expand the Ocean Way Studio plugin. I'd love to have more mic options. Drew @ UA , can you hear me? Of course I can't comment on future products/features, but we have done a bunch of MKIIs. It's one of the things I like about our team, they're not afraid to go back and say--"can we do this better now with all we've learned?" Updated 33609 please! Tickling -4 on drums = NOTHING better on drums. Take my money. I'll put a down payment on it.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 7, 2018 6:24:48 GMT -6
Sorry for the question (I'm old and new to the digital realm..).
After i have had a demo of some UA plugins and want to purchase and install do the eq & reverb settings i have used in various songs with the demo plugs reset / disappear ?
|
|
|
Post by Drew @ UA on Dec 7, 2018 7:49:27 GMT -6
No, they do not.
|
|
|
Post by joseph on Dec 7, 2018 18:28:13 GMT -6
I kind of have the exact opposite opinions for a lot of what you said. I think the UAD 1176s slay the slate one. Put them both on a drum bus. Attack slowest and release fastest. All buttons in or highest ratio and then crank the input. See which one breaks up and sounds like a real 1176. I’ve also tried the OW plug about four different times and just can’t find anything that sounds any better than the T Verb. Also haven’t found anything that does what the BX 20 does. Agreed on all counts! I shot out the Slate and the UAD 1176LN vs my Mohog. The UAD sounded very similar. I imagine probably more similar to the real thing in that the low end was reined in slightly, whereas the Mohog was a little more hifi in edcor and spongier carnhill setting (also with more low end), which is awesome on vocals and bass. I also tested the DMG TrackComp in FET setting and that was super hifi in terms of bandwith and pretty interesting overall. I can't deal with the Slate because the metering and release knob are all fucked up. Yes I like meters, I don't care if they're accurate, they can still be informative. The slate also didn't breathe as much, it clamps a little harder. That said, it sounded pretty 1176-like overall and good on snare. I wasn't particularly impressed with Ocean Way. It sounds like a real room, but I don't think the early reflection modeling beats VSR S24 which is much more adaptable, and I also really like T Verb, it's a little more transparent and less fake/phasey sounding, if you know what I mean.
|
|
|
Post by joseph on Dec 7, 2018 18:29:20 GMT -6
Of course I can't comment on future products/features, but we have done a bunch of MKIIs. It's one of the things I like about our team, they're not afraid to go back and say--"can we do this better now with all we've learned?" Updated 33609 please! Tickling -4 on drums = NOTHING better on drums. Take my money. I'll put a down payment on it. The 33609 action is the best. The SSL mkii and 2500 sound more like real hardware, particularly the SSL. So yeah!
|
|
|
Post by joseph on Dec 7, 2018 20:27:11 GMT -6
I wasn't particularly impressed with Ocean Way. It sounds like a real room, but I don't think the early reflection modeling beats VSR S24 which is much more adaptable, and I also really like T Verb, it's a little more transparent and less fake/phasey sounding, if you know what I mean. Realized I appeared to contradict myself with real vs fake. What I mean is that the Ocean Way sounds very much like real room in isolation, but it's not as solid yet adaptable to the source as the ray-traced early reflection modeling that you find in the TC VSS4+ reverbs or the Relab reverse engineered version; and T verb is more clean in the tail while still having the same real room impression in the texture, and I hear in Ocean Way phasiness that I don't hear in real room mics or T verb. It's a little ironic because the VSR S24 doesn't sound completely real in the tail color but the early reflection start/stop handling can make the source sound completely part of the reverb perspective, whereas the Ocean way sounds like a real perspective that does not quite emanate from the source. T Verb I think would beat VSR in tail realism for many stringed acoustic sources but is not as solid for improving drums. I feel similarly about Nimbus, which is a little denser perhaps (and more flexible in early over Phoenixverb) and maybe the best overall compromise for a natural reverb.
|
|
|
Post by Johnkenn on Dec 7, 2018 22:46:31 GMT -6
Yeah - Nimbus has some killer live room presets. I'm building some tracks right now and finding I'm reaching for the Helios over the API stuff right now (I'm demoing the API)...The UAD API is pretty great, too. Nothing beats that Zener on parallel drumbus either.
|
|
|
Post by indiehouse on Dec 7, 2018 23:10:30 GMT -6
I wasn't particularly impressed with Ocean Way. It sounds like a real room, but I don't think the early reflection modeling beats VSR S24 which is much more adaptable, and I also really like T Verb, it's a little more transparent and less fake/phasey sounding, if you know what I mean. Realized I appeared to contradict myself with real vs fake. What I mean is that the Ocean Way sounds very much like real room in isolation, but it's not as solid yet adaptable to the source as the ray-traced early reflection modeling that you find in the TC VSS4+ reverbs or the Relab reverse engineered version; and T verb is more clean in the tail while still having the same real room impression in the texture, and I hear in Ocean Way phasiness that I don't hear in real room mics or T verb. It's a little ironic because the VSR S24 doesn't sound completely real in the tail color but the early reflection start/stop handling can make the source sound completely part of the reverb perspective, whereas the Ocean way sounds like a real perspective that does not quite emanate from the source. T Verb I think would beat VSR in tail realism for many stringed acoustic sources but is not as solid for improving drums. I feel similarly about Nimbus, which is a little denser perhaps (and more flexible in early over Phoenixverb) and maybe the best overall compromise for a natural reverb. That’s what I came to dislike about the Ocean Way. It’s phasiness. Now I’m stuck with it and don’t use it.
|
|
|
Post by viciousbliss on Dec 8, 2018 2:08:37 GMT -6
Have any of you guys tried using Ocean Way in re-mic with pre-fader sends? Other reverbs sound good like that too, you're just stuck with less ways to tweak them for this purpose. I'm not making more than very minimal adjustments on the 3 mics though. Other people have complained about the phasey sound too. Maybe I'm not using it loud enough to expose the phasiness or I like introducing just enough phasiness to make things less clear. Tried the Zener and SSL bus comp today. Real impressive stuff. Their SSL is much better than the Waves and I like it better than the Townhouse or Duende. The UAD brings more energy than the others while also being a bit more coherent. What can I say about the Zener? That thing is crazy. It's so strong on busses I had to remove a bunch of plugins and drop the levels on all my fx with just the default settings. The thought did occur to me to use it in parallel. A mix knob would be much appreciated. In researching the ATR-102, I found some comments from Jantex about Satin being better. I've not used Satin a ton in the 3 years I've owned it either because of an underpowered computer or using other stuff. I can say that if you use the preset for the ATR-102, it sounds like the UAD version but smoother and wider. You can adjust settings on it to get it more forward like the UAD. So I will probably cross off the ATR-102 off my list of candidates unless something changes my mimd.
I went back to the FG-116. With some tweaking I could get it pretty in line with the UAD for what it was doing. Also tried the Massenberg and preferred making the same moves with Equilibrium. The Shadow Hills is a little bit more energetic than the Sknote SDC. Quinto is supposed to update that one some day. Still not taking a huge liking to the 224. Got a chance to compare the UAD 480 with the Relab and it's a tough call because you can't get the same sound with the same settings. I was able to dial in things on the Relab I liked as much or more than the UAD. It does seem to put more room between itself and the source than the UAD does. One of the UAD presets I like is "In the Past". I could find a lot of use for the crazy fx. That said, I can kinda do the same thing with the AMS.
In my most plugin heavy, 96k 20 some track session with a 2048 buffer, I deactivated all the Transatlantic Plates, Softube Tape, T-verb, ATR-102, and a bunch of FG-116s. Then I put UAD stuff in. I couldn't replace it all without running out of cpu. Once I added the reverbs, ATR, and a couple mono 1176 AE, the cpu gave out. Even deactivating more native plugins didn't help. UAD DSP was only at 60%. After asking Drew about it and doing my own research, I'm going to talk to UAD tech support. Seems weird that freeing up native cpu would result in overloading the cpu.
Looks like the Relab 3.0 has wild spaces and a bunch of new stuff. Could be missing the Effects though.
|
|
|
Post by cowboycoalminer on Dec 8, 2018 5:38:44 GMT -6
OW is a difficult plugin to use. It’s certainly not a set and forget type tool. Takes a lot of tweaking in remike mode to get a usable result but the payoff is worth it IMO.
In straight reverb mode it’s easy, but in remike mode, it takes awhile through trail and error to get the mics spaces right.
Don’t give up on that plug guys. It really is killer. Big studio sound in a box.
|
|
|
Post by swurveman on Dec 8, 2018 8:44:00 GMT -6
OW is a difficult plugin to use. It’s certainly not a set and forget type tool. Takes a lot of tweaking in remike mode to get a usable result but the payoff is worth it IMO. In straight reverb mode it’s easy, but in remike mode, it takes awhile through trail and error to get the mics spaces right. Don’t give up on that plug guys. It really is killer. Big studio sound in a box. I thought this was a cool example of effective use of the OW re mic mode. It would have been interesting to see what they did to achieve it while minimizing phase.
|
|
|
Post by nick8801 on Dec 8, 2018 9:37:27 GMT -6
I felt the same way about OW. I’ve had it for years and never quite liked the results in a mix. This week however, I was working on a very pop/rnb type vocal, and it just sounded too close to the front of the mic if that makes sense. Just a touch of OW in reverb mode and it helped to sit the vocal back into the mix where I needed it. Glad I finally got to use it, as it’s definitely one of the more expensive plugins I’ve purchased. Now that I’ve figured out a good way to use it, I don’t think I have any reverbs that could get me there as easily as this did.
|
|
|
Post by drumrec on Dec 8, 2018 11:27:28 GMT -6
OW is a difficult plugin to use. It’s certainly not a set and forget type tool. Takes a lot of tweaking in remike mode to get a usable result but the payoff is worth it IMO. In straight reverb mode it’s easy, but in remike mode, it takes awhile through trail and error to get the mics spaces right. Don’t give up on that plug guys. It really is killer. Big studio sound in a box. I am using almost OW reverb in re-mic mode. That's where I think it shines at its best. Ocean Way reverb has been one of the more used plugins during those years I've been in the "LEDE" room for tracking drums. Moves to a big recording studio next year and then it will be less used because big, good room sound. In that dry "LEDE" room I've taken a pair of Coles 4038 who catch up the whole drum set and remic them through Ocean Way. Sounds like a dream. Best results if you have a very dry room/signal when using re-mic mode. Another reverb that begins to compete a lot with my UAD reverb is "Seventh Heaven Professional". Love the "Small Chamber" and "Romms1 Studio A". When I use plugins, uad often my first hand choice in 80% of the cases. Love them!
|
|
|
Post by Mister Chase on Dec 8, 2018 15:58:47 GMT -6
Yeah - Nimbus has some killer live room presets. I'm building some tracks right now and finding I'm reaching for the Helios over the API stuff right now (I'm demoing the API)...The UAD API is pretty great, too. Nothing beats that Zener on parallel drumbus either. The tone of the Helios is fantastic. I like the EQ that is has. I just wish it had more options on it. Zener parallel drums is killer. That one gets me in trouble with ALL the ladies.
|
|
|
Post by jtc111 on Dec 8, 2018 16:33:03 GMT -6
I am using almost OW reverb in re-mic mode....Another reverb that begins to compete a lot with my UAD reverb is "Seventh Heaven Professional". Love the "Small Chamber" and "Romms1 Studio A". When I use plugins, uad often my first hand choice in 80% of the cases. Love them! I agree with all of that. Re-mic-ing VST instruments with OW makes my ears smile. I rarely ever use it as a straight reverb but you'll find it on just about every ITB instrument track I create, with the exception of bass and drums. I just picked up Seventh Heaven last week but it's already a favorite. The tails sound nicer than Valhalla. I'm curious to see how often I use this instead of Altiverb moving forward.
|
|
|
Post by Martin John Butler on Dec 8, 2018 17:20:32 GMT -6
Seventh Heaven is my main reverb now, the Relab was pushed into second place, 3rd is SoundToys Little Plate. I have a half dozen others, but just the 7th heaven alone would do.
|
|
|
Post by indiehouse on Dec 8, 2018 18:54:00 GMT -6
Are you guys putting OW on an aux in remic mode?
|
|
|
Post by Guitar on Dec 8, 2018 19:02:08 GMT -6
BX-20 does sound enough like my real springs to me, so I'm happy to use it.
The Eventide SP2016 as mentioned is an early favorite for me as well.
I've also been using the Waves Abbey Road Chambers a lot, my pal Ryan Earnhardt did a video against a real chamber, and in fact I picked the plugin as my favorite blind, so I bought it. It's my "real room thingie" in plugin land.
I don't use the UAD API 2500 but I do use the Waves API 2500. It's just an incredible drum compressor, slamming, tight, powerful tones. I'd like to demo the UAD more but the waves was only $24 last week and I thought it had a tighter low end than the UAD. Otherwise they're pretty similar. If you want subs the UAD would be the choice. This one takes some time to learn though, so spend some time with the controls you're not used to (thrust, knee, feedback/feedforward, etc) it's a deep compressor. Once I heard it on my drums I had an "a-ha" moment. It's the sound of modern rock, really, whatever that means in 2018. Maybe I'm a little dated. Just reminds me of MTV and the radio back when I used to care about those. That "major label" sound. Huge recommendation from me.
I'm glad the Precision Delay got mentioned I need to use that more, it can do some cool stuff. I like delays that sound very digital sometimes.
I also really like the Abbey Road/Chandler TG stuff from both UAD and Waves.
|
|
|
Post by ragan on Dec 8, 2018 19:06:36 GMT -6
I could never make my ears get along with Ocean Way. I had Altiverb at the time and liked it better. I do miss UAD reverbs though, probably more than any other UAD stuff. I have the Waves AR plate because it was so cheap but I don't think it compares very favorably to the UAD EMT140. I really miss that EMT250 as well. Not using an Apollo any more though, it's hard to justify spending hundreds of dollars just so I can have the option to run a handful of over-market-price plugins that induce huge latency and mean I have to carry around external processing.
For space, I pretty much just use TVerb or FabFilter ProR or the AR Chambers deal (which I really like).
|
|
|
Post by Guitar on Dec 8, 2018 19:17:22 GMT -6
I also prefer the UAD EMT 140 as well as the Sound Toys Little Plate over the Waves Abbey Road Plate reverb... the waves one just had a bunch of weird controls that confused me. Complete opposite of the Sound Toys with basically 1 knob. UAD is a nice middle ground with useful extra options and controls.
|
|
|
Post by ragan on Dec 8, 2018 19:20:44 GMT -6
I also prefer the UAD EMT 140 as well as the Sound Toys Little Plate over the Waves Abbey Road Plate reverb... the waves one just had a bunch of weird controls that confused me. Complete opposite of the Sound Toys with basically 1 knob. UAD is a nice middle ground with useful extra options and controls. I also struggle to make the Waves one not sound tinny and sort of crappy. I can totally use it in conjunction with other processing (EQing the return, etc) but the UAD is a lot more lush and real sounding to me. I miss that thing.
|
|
|
Post by Martin John Butler on Dec 8, 2018 21:38:25 GMT -6
Ragan, get the Sound Toys Little Plate, I choose it over the EMT-140 all the time now.
|
|
|
Post by viciousbliss on Dec 8, 2018 22:12:31 GMT -6
I still think the best plate is Rare Signals Transatlantic Plate. But I'm really into these UAD reverbs with the 480, BX20, and the AMS. The AMS is actually very versatile and easy to get results with. Each mode can radically sculpt the sound. Ambience does a top level job at creating space. Right now I'm only using one Ocean Way on an aux. I went back to using Bx Console SSL E on the pre-master aux and that made things a lot better. The AE 1176 with a 2 ratio works better and better the more BX SSL Es I put in the mix.
|
|
|
Post by ragan on Dec 8, 2018 22:16:04 GMT -6
Ragan, get the Sound Toys Little Plate, I choose it over the EMT-140 all the time now. I've got it, Martin. I do like it, but for my ear, it doesn't do the big lush thing the EMT140 does. It's cool though. Good general vibe. And of course this is all totally subjective. And admittedly, I don't have the UAD EMT140 to put next to it anymore, just lots of tracks done with it.
|
|