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Post by cowboycoalminer on Feb 27, 2014 7:14:57 GMT -6
Let me preface this by saying I NEVER get excited about a plugin. And I wouldn't even say I'm excited about this one but it is in my opinion a major standout among a plethora of so so's. It's got something that I cannot (no matter how hard I try) simulate with any reverb plugin. It's a true room modeler. And it really does what it says it will do. It can turn a flat recording into something that sounds like it was recorded in a huge live room.
I don't know how it would work for recordings which have been recorded with natural early reflections. My tracking room here is pretty much completely dead. And in this scenario, this plug in works miracles really. When I first demoed it way back when, I was impressed but not overly so. But the more I dig into this thing and the more I learn how to use it, I gotta say fellas, this thing turns a boring recording environment into something really special.
Not trying to come off as an excitable type here. Just like to have some dialogue about others findings with this thing. What say the gang?
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Post by matt on Feb 27, 2014 8:08:07 GMT -6
Agreed, I think this plug is a step forward in room modeling. When I first bought it I spent quite a bit of time wearing cans listening to the various options - mic positioning, instrument type (which changes the whole configuration of how things are "set up" in the room) mic type, EQing, etc, and the modeled space sounds very natural/real to me. This said, I have never been there, so I cannot say how "accurate" the algorithm is, but it sounds good. I also get a bonus in that my favorite kit in BFD3 was also recorded at OW, so the sonic imprint of that room is inherent in my drums, as well. As you would expect, if the gain on BFD's "ambient" mic set is increased, the room sound comes up too. It's a beautiful thing to have fairly consistent room sounds to call up at will.
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Post by svart on Feb 27, 2014 8:13:04 GMT -6
So what's the thing? I see a studio name in the topic, but I don't see a product name anywhere in your posts.
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Post by levon on Feb 27, 2014 8:16:49 GMT -6
So what's the thing? I see a studio name in the topic, but I don't see a product name anywhere in your posts. UAD Ocean Way |
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Post by Johnkenn on Feb 27, 2014 8:37:09 GMT -6
I totally could have missed it...but I demo'd when it first came out and didn't think it was anything I couldn't achieve with the Bricasti Impulses or some of the room sounds in Valhalla. Maybe I should try again...
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Post by cowboycoalminer on Feb 27, 2014 12:33:04 GMT -6
You should. I'll send you an A/B of a stereo drum track tonight that will blow your mind. The A/B is one that I did here at my place so I know that it's solid with no trickery.
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Post by cowboycoalminer on Feb 27, 2014 12:34:57 GMT -6
Matt
I don't know if it sounds like the real OW either. What I do know is it sounds like recording in an expensive studio. That's what matters to me you know?
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Post by jeromemason on Feb 27, 2014 13:07:04 GMT -6
I want to stop spending money!!!!!!! This site is nothing but enablers, we all need interventions, instead we're just helping shove the needle in one anthers arms.  Man I bet it sounds fantastic on drums and vox though, I can trial it, I'm sure I won't want to buy it for $400 when I get done, I'm sure I can live with out it afterwards, no worries, I have self control.  |
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Post by kcatthedog on Feb 27, 2014 13:08:35 GMT -6
Ows= the real thing
I think the plug information states that the ows rooms are sampled, using the respective mikes and positions
So the reverbs are real
I think the modeling is around using samples and a very sophisticated algorithm to create an accurate emulation of the particular combo you create, room, mike (s) and positions
I think that is the magic in the sauce
But ua being ua, i presume the sampling methodology created some grid of points within the room that provides an accurate map of the tonal characteristics of the entire for the combo emulation to work from
I also presume they used the actual mikes and so this Is realer than say the new slate vmike product but it may be a very similar algorithm with profiles of the characteristics of the mikes
I am not sophisticated enough to use ows: i find it too much for me: that is not a criticism of the plug. I think it takes a skillful user!
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Post by cowboycoalminer on Feb 27, 2014 21:41:08 GMT -6
I'm officially blown away by this thing. So much more than a reverb. I never took the time to dig in to this thing until recently. It's realistic enough that it will cause comb filtering if improperly set. That's probably the reason most don't like it. It's not easy to use in insert mode. But well worth the time it takes to figure it out IMO.
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Post by donr on Feb 27, 2014 22:11:14 GMT -6
I've had good results with this plug so far. It made a Kemper profile (Carr Rambler) sound like it was authentically recorded in a high dollar room. Subtle effect, as I employed it, but a definite improvement. I plan to use it on most everything I do in my basement.
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Post by Johnkenn on Feb 27, 2014 22:20:45 GMT -6
I have to be honest, Cowboy...listening to those two files you sent me - I preferred the one without the OWS. But maybe that's just my preference to not have that much "room"...Although - to me - there's something weird about the sound...and the cymbals sound phasey to me...Do you have Valhalla Vintage Verb? Love to hear one of those rooms at about 12-18% on the kit...I've also been using the Bricasti impulses with Altiverb - love the "Wait's Room" preset...when I want a little room/space on acoustics or the kit...Not trying to be Debbie Downer...
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Post by jeromemason on Feb 27, 2014 22:30:48 GMT -6
I have to be honest, Cowboy...listening to those two files you sent me - I preferred the one without the OWS. But maybe that's just my preference to not have that much "room"...Although - to me - there's something weird about the sound...and the cymbals sound phasey to me...Do you have Valhalla Vintage Verb? Love to hear one of those rooms at about 12-18% on the kit...I've also been using the Bricasti impulses with Altiverb - love the "Wait's Room" preset...when I want a little room/space on acoustics or the kit...Not trying to be Debbie Downer... is OWS an option in the plugin, or is that just how it works? Sorry if that's dumb, but I'm trying to get an understanding. It'd be really nice to have something that was on par with the Bricasti impulses that was UA. AV eats a ton of processing on the host, unless you're using HDX, and I'm still a peasant in regards to PT. |
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Post by donr on Feb 27, 2014 23:04:19 GMT -6
UAD Ocean Way is pretty hongry on the processors too. If concern about plugin resources is important, bounce once you get a pleasing 'tracking' effect you can live with. I use it early in the decision making process, or if I were mixing an outside project, early in the remediation stage.
Any early reflection or room 'verb can 'authenticate' a dry/lame sounding or direct source for the ear. Been doing it since the first Line6 Pod. I bought OWS without demo'ing it, on its promise. I'm not sorry. You well might get similar or perhaps better results with other impulse response type 'verbs.
The attraction of OWS so far is the 3 mics (nice mic's I don't have, at 3 different distances) mixer, and the ability to adjust each mic for the distance to the source. It's similar to the way the Two-Notes Torpedo, a guitar amp load box and convolution IR cab/mic/studio line output works. I use the Torpedo live and recording, and I love it. The UAD Ocean Way is similar in function for a wider intended usage.
Everyone bitches at the cost of UAD plugs, after they bitch about the cost of the 'dongle.' Of all the plugs I've bought, I probably use the Lex 224 and the Neve 88RS the least, only because I don't know how to get around on them. But I generally come close to maxing out my UAD Quad on every mix, in addition to almost maxing out my MacPro 2,1 eight core on native plugs.
In every BOC record we've ever made, we only stopped adding outboard to mixes when we ran out of gear.
Off topic enough for one post..
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Post by cowboycoalminer on Feb 27, 2014 23:07:15 GMT -6
No downer whatsoever JK. Everybody hears things different. But yes I do have the Valhalla Vintage and will try a run on it. Just never have been satisfied with running a reverb plug as an insert until now.
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Post by allbuttonmode on Feb 28, 2014 4:24:54 GMT -6
I use the OWS a lot. I've never used it in re-mic mode, though. Only as a reverb. I set one instance up as an FX track (I use Cubase), and run drums, and whatever else I see fit, into it. Then bring that wet signal in underneath.
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Post by matt on Feb 28, 2014 7:59:05 GMT -6
In every BOC record we've ever made, we only stopped adding outboard to mixes when we ran out of gear. Beautiful, I bet this is a common "problem", if it can be called such, and then only if there is not very much outboard! I have yet to find the processing limit of my Apollo Quad/Mac Mini/non-HD PT11 rig. Running at 1024 samples, PT reports low-to-moderate CPU utilization pretty much no matter what I throw at it plugin-wise. And the limit of the Quad is well-known. However, I have not worked with any large mixes so far. |
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Post by henge on Feb 28, 2014 8:32:03 GMT -6
No downer whatsoever JK. Everybody hears things different. But yes I do have the Valhalla Vintage and will try a run on it. Just never have been satisfied with running a reverb plug as an insert until now. Try the Ambience programs in VVV. In the presets menu they are under Ambience ( not Ambiences ) and are the Very Small,Small, med and Large Ambience presets. I'd be very interested on how they compare to the OWS. Btw the Ambience algo in VVV is based on an m300 and then tweaked by ear. |
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