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Post by joseph on Jun 3, 2019 15:46:52 GMT -6
SSL channel and mkII compressor LA2A Gray Curve Bender 550a and 560B 1176 collection
I also consider the 1073 to be by far the best emulation in terms of lack of pointiness in mid-band and the phase interaction, at least compared to the BAE stuff I have. Same thing with the Pultec vs other emulations.
I will be demoing the new Chamber plugin and probably the 480L for the extra fx over the Relab (which I love), butobviously the BX20 is unique and the plate is definitely good. Also will be checking out the Helios.
That said, I still think VSR S24 and Nimbus are generally better multi-purpose modern reverbs than most of the vibey UAD stuff.
I think H910 (also native) and PrimalTap are the best retro delays itb.
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Post by joseph on Apr 18, 2019 16:48:52 GMT -6
I like how Sean's plugins are each like a curated exhibit of different sounds with various bandwidths, rather than the same engine used for different fx.
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Post by joseph on Apr 18, 2019 16:45:06 GMT -6
You could try reamping it through a preamp DI.
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Post by joseph on Mar 8, 2019 12:54:50 GMT -6
Too bad. Have one, love it.
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Post by joseph on Mar 8, 2019 12:53:39 GMT -6
I recommend 760FL
definitely P
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Post by joseph on Mar 6, 2019 19:16:19 GMT -6
Eventide H910 and Soundtoys PrimalTap.
I also like Excalibur for something really hifi and powerful.
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Post by joseph on Feb 16, 2019 20:31:10 GMT -6
I like the current 63 p bass pickups in my reissue American Vintage. Use La Bella flats of course.
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Post by joseph on Feb 8, 2019 20:50:28 GMT -6
Prob UAD 550A or SSL channel mkII for general stuff. DMG Equilibirum for anything precise.
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Post by joseph on Feb 8, 2019 20:46:59 GMT -6
Thanks for the heads up, I just got this free with Anthology.
Btw all the latest throw-back plugins from Eventide are great. Much better than their guitar pedals and most current rack gear. The 500 series delay sounds good but lacks the band limited pitch shifting mojo of the h910 plugin which is really the stand out.
h910 h949 SP2016 (basically same as the rack reissue I think, love it in any case). Now this I assume.
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Post by joseph on Feb 8, 2019 20:39:50 GMT -6
Hmm been busy and I missed all this.
TG Mic 1 sounds real good, TG Mic 3 is a bit too intense for my taste.
I actually prefer the overall sound of this mic to the Redd, which I find a touch too present in the upper mids. Sounds great on electric guitar and drums too.
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Post by joseph on Jan 17, 2019 18:21:19 GMT -6
Now that is tempting. Love the 10DCs, but this looks more flexible for stereo bus.
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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.
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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!
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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.
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Post by joseph on Nov 13, 2018 13:35:17 GMT -6
I don't like doing shootouts but I will say that when I demoed the Brainworx extensively vs the UAD SSL MKII, only the UAD had that kind of grainy dry mid quality (and I also think the less open sound Brad describes) of an SSL channel, definition to the snare skin, and tightening of the low end and the whole synergy with the dynamics was very impressive. Closest other thing I tried in terms of character was Duende, but even that was kind of 2D in comparison.
Even though the Brainworx could be preferred for sonic reasons (it sounded bigger and less etched), I thought the UAD on several tracks actually sounded much more like the records I know that were done on SSL, whereas the Brainworx sounded good but more generic personality-wise. Too bad the UAD uses so much DSP.
I also compared the UAD bus compressor vs my gold can Oxford GSSL and it sounds very similar but perhaps a little clearer / more hifi, which makes sense.
Not sure about Softube, but I was so impressed by the whole interaction of the UAD SSL, and it just has the recognizable sound.
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Post by joseph on Nov 9, 2018 12:35:09 GMT -6
The electrodyne 501 is interesting to me because the P1 and 501 sound so totally different to me. The 501 is very fat and round. I tested this against Vintech Neve styles, I think Pacifica and some others in a studio. Wow is it fat. Yes it really sounds very different. I love the transformer-coupled DI in the electrodyne. Sounds really good on synths too, not just pbass (where if I'm being honest I prefer amp anyway).
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Post by joseph on Nov 9, 2018 11:13:06 GMT -6
I'm intrigued by the extra effects, although the Relab has the HD Hall with dense cluster early reflections.
I think I will hold off though as I suspect Martin/Warp69 from Relab will do his own little black box experiment demonstrating which of these is actually closer to the real thing. That guy is intense in a good way.
That said this UAD could be just as good, just slightly different, who knows.
I will personally say though that VSR S24 (and I would think the new TC with controller dongle) and Nimbus really beat out the 480L paradigm in terms of room early reflections.
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Post by joseph on Nov 5, 2018 8:06:40 GMT -6
API 500 series collection SSL strip MKII (crazy good emulation) SSL GBUS MKII (same) LA2A MKII (the gray one) Curve Bender 88RS strip MKII (I tend to use SSL more but I'd say this is equal quality and better for acoustic material) New 1073 (the mids sound much sweeter and less pointy than any other 1073 emulation I've heard (the old emulation is shit in comparison), dimension/phase pretty close to my BAEs) Pultec MKII 1176 MKII API 2500 Distressor
I like their effects but I tend to gravitate more to the Relab and Exponential reverbs and Soundtoys and Eventide delays. Prob would choose BX20 to keep one.
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Post by joseph on Oct 30, 2018 15:56:59 GMT -6
I think Spitfire audio uses M50s and C12s for their Decca tree.
Speaking for myself, in general I'm not a fan of excessive multimiking for orchestral recordings.
Klemperer for EMI at Kingsway Hall used Decca tree plus outriggers and soloist spots I believe, Martinon ORTF, Peter Maag LSO. Not sure what they used for Kempe's Strauss or Sawallisch's Schumann with the Staatskapelle Dresden, but those have much more natural engineering than the Karajan recordings from same period, which don't compare well to his 60s Jesus-Christus-Kirche Sibelius recordings which sound really good.
Best recent orchestral recordings I've heard are Nelsons conducting BSO Brahms cycle.
Possibly the best orchestral recording I've heard period is Haitink's 1981 Bruckner 9 (early digital too!), so would be interesting to find out what the set up was for that aside from a perfect orchestra and hall.
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Post by joseph on Oct 23, 2018 11:25:30 GMT -6
From where is the capsule sourced, Europe again?
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Post by joseph on Oct 16, 2018 12:26:10 GMT -6
Wonder if it's a European capsule again or...?
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Post by joseph on Oct 6, 2018 21:30:30 GMT -6
Yesss just used it in vintage mode as fx snare verb with a pretty short decay time blenidng early / late to taste and my yaw droped. Such a nice blend I only know from the Quantec Yardstick, which I guess still is very expensive??
That sort of thing is part of my snare bus and I use Valhalla Vintage Verb to do it. I'd consider it a necessary part of what I'm trying to do with snare drums. That's why I've been hesitant. Do I need ANOTHER 'verb plug when I've got Stereo Room and VVV and find myself not really lacking? Of course, I might just not be hearing the possibilities the better stuff affords! Are you just trying to add tail to snare drums or to change the character of the early reflections? I think this reverb is awesome because it has a dark characterful color but works on both acoustic and electronic sources without sounding particularly unnatural or sheeny. That said, even though the position control is elegant, I find the start/stop early reflection tailoring on VSR S24 (itself derived from TC 6000) to be more advanced than this and to VintageVerb or basically anything but a Bricasti, if you want to actually change the character of the early reflections. Even a Quantec is more about an earthy resonances model that can't always be made to fit with small room stuff. Sometimes I just use the early reflection engine of VSR because it's so damn realistic and flexible and not merely a series of delay lines or whatever and use a more colorful tail from a different reverb.
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Post by joseph on Oct 6, 2018 21:16:21 GMT -6
So what’s in the magic sauce? Is it the analog modeled gritty dist that makes this thing sit and cut so well? Ive ran lofi, saturation plugins on verb sends before which is a cool flavor to add, but nothing with this type of result. Makes me want to demo more Eventide fx plugins. Hmm. Check out the H910
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Post by joseph on Oct 3, 2018 9:53:00 GMT -6
Looks pretty great.
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Post by joseph on Oct 2, 2018 9:26:52 GMT -6
Great!
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