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SSL DUENDE MINI - FireWire DAW Expander - Now with conclusions!


Anderton

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SSL Duende Mini Pro Review: Prologue

 

Native processing that's done inside the computer is certainly convenient and cost-effective, but eventually, you'll run into limitations: The computer might not be powerful enough to run as many plug-ins as you want, or you may find that really high-quality plug-ins require so much CPU power you settle for ones that are "good enough."

 

There are various ways to get around these problems, but one of the most popular ones is to add hardware DSP assistance to your computer, either in the form of a card that plugs into a motherboard slot, or an external box that communicates with the computer via a high-speed port. Digidesign popularized this trend with their original Sound Accelerator board for the Mac, and since then, many other solutions have come along: Creamware's SCOPE system, TC Electronics' PowerCore, Universal Audio's UAD-1 (and now UAD-2), Focusrite's Liquid Mix, and others.

 

But now Solid State Logic (a/k/a "the company that makes those really great mixers you'll never be able to afford") has thrown its hat into the outboard DSP ring with Duende and Duende Mini, two FireWire-based boxes that contain significant DSP and run SSL's custom plug-ins. This is part of an interesting re-alignment of the company that has seen it extend its reach into lower-end markets, without forsaking the clientele that put it on the map. The single rack space Duende lists for $1,875, while Duende Mini - the subject of this Pro Review - is functionally similar to Duende, but fits in a third-rack space and retails for $995. Furthermore, a PCIe card version called Duende PCIe retails for $1,495. (The links give a good idea of street prices.) In this review, I'll simply refer to "Duende" so I don't have to type "Mini" all the time...

 

Incidentally, in case you wondered, duende is a Spanish word that relates to the arts, and connotes emotion and authenticity. Well, SSL's Duende is certainly authentic, and it really does seem that many design decisions were made to maximize "musicality" - like Duende itself, a difficult work to define precisely. And to give a little foreshadowing, they've succeeded in creating very "musical" software but perhaps not for the reasons you might expect. In fact, one reason I'm looking forware to doing this review is I get to record a bunch of audio examples :)

 

Unlike most Pro Reviews, where the review starts when I open up the package from UPS or Fed Ex, I've been using Duende for a few months now in my music and soundtrack work. However, Duende isn't just about what comes with the package (a fine-sounding channel strip; see the attached image), but the optional-at-extra-cost programs you can run on the platform. For example, if you've always craved having the famous SSL bus compressor as a software plug-in, now you can. Best of all, Duende is cross-platform, so you can run VST, AU, and (with a little assist from Fxpansion's wrapper) RTAS.

 

While we'll cover the basic package, we'll emphasize the optional plug-ins so you can more easily decide which ones are most important to what you need. Although outfitting Duende to the max isn't cheap, one advantage of the Duende approach is that you start off with the channel strip (which can cover a lot of your needs and shouldn't be underestimated), but then purchase additional plug-ins as your needs dictate and your finances permit. It's even possible to expand Duende itself to run more plug-ins.

 

Next, let's look at the construction, and compare the advantages and disadvantages of using an external box as opposed to a PCI card.

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The external box containing the DSP is quite plain, as you can see from the attached image), although it's compact and its all-metal construction gives a reassuring feel regarding reliability. (The second image shows the PCIe card, which I thought you might find interesting). The front panel has an on-off switch, and the rear panel, two FireWire ports and a jack for the included AC adapter (however, I've been able to bus power Duende without problems, other than when using it with my laptop, which has only a four-pin FireWire connector and therefore doesn't provide power).

 

Duende has a fixed amount of DSP power available for plug-ins. This is unlike native plug-ins, which face a constantly fluctuating amount of available power from the host CPU. As a result, with native systems, it's important to leave some "CPU power headroom." With Duende, you can load it up fully and know it will always have enough power.

 

Duende comes from the factory able to run 16 mono plug-ins at 44.1/48kHz, however you can also run stereo plug-ins instead of two mono instances. The maximum number of stereo plug-ins is 8, but you can have any combination of mono and stereo plug-ins as long as the combined number of channels is 16 or less.

 

However, an additional $399 (250 Euros) upgrade, available online, can expand Duende to 32 slots. Once you start getting into Nuendo, this is well-worth it: You can add, for example, 32 SSL channel strips to the mixer in your DAW without loading down your computer's CPU. That's powerful stuff, particularly because of all the channel strip can do (by the way I should mention the channel strip models SSL's C200 digital console). And if you really get into Duende, you can run two mini simultaneously, and even run two PCIe cards with the two Duende Minis. I doubt, however, that you'll need this much stuff!

 

With high sample rates (88.2 - 96kHz), you have half the number of slots. So, a maxed-out Duende would give 16 slots (16 mono, 8 stereo). Duende doesn't support 176.4 or 192kHz sample rates...is that a deal-breaker for anyone? I didn't think so.

 

One point worth mentioning is that Duende is truly "disconnected" from your computer. The advantage is that this takes a huge load off your processor, but the disadvantage is that if you track-bounce in a DAW with Duende effects, you need to bounce in real time. This is because hooking up Duende is essentially like having, say, a hardware reverb or whatever patched into your DAW as an external audio effect - but the signal travels on FireWire instead of standard cables. Of course, this isn't a deal-breaker but if you have the unexpanded Duende and plan to do track-bouncing to add effects to tracks without having to get the upgrade, this will take longer if you're used to programs that do faster-than-real-time bouncing. This is also why I found it better to bypass any processing at the plug-in itself, which happens instantly, as opposed to bypassing at the DAW, which sometimes led to a brief hiccup.

 

Getting Duende set up and working was simple - it's just a matter of installing the software (check online for the latest version), and plugging in Duende. SSL's documentation never left me scratching my head, and the on-screen prompts made sense. Then again, I always follow the golden rules of FireWire audio devices: Give them their own ports, don't daisy-chain anything with them, and use only approved chip sets.

 

The only problem I encountered during installation was having Duende say certain plug-ins weren't unlocked when in fact they had been. This was a minor bug in the authorization process which I believe has since been remedied.

 

Zooming out to the big picture, Duende is part of the trend to move some hardware "out of the box," turning the computer into more of a recorder/editor than a do-all studio. You'd think that with things like 8-core computers this wouldn't be an issue, but Duende adds an element of stability to a system because its operation is so predictable.

 

Before getting into the plug-ins themselves, I should add that SSL is very helpful - the FAQs on their web site cover a broad range of topics and are easy to understand, the documentation is comprehensive without being tedious, and even the installation routine screens made sense. (Note that I installed it on a PC; although come to think of it, it's FireWire so I can just install the appropriate software on my Mac, plug in Duende, and have it work there as well.)

 

More tomorrow...

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Let's check out the channel strip. For completeness, though, let's take a quick look at the control panel software. There's not much to it, and no adjustable parameters. The first attached image shows the panel in action: The top, highlighted section shows the 32 available slots, spread over 4 DSPs. The zeroes indicate active slots that can host plug-ins. Seems to me it would have made more sense to label an active slot 1, but no big deal.

 

Okay, now for the EQ and Dynamics Channel strip. It has several building blocks:

 

1. Low cut and high cut filters.

2. 4-band equalizer with low shelf, high shelf, and two parametric stages; the shelving stages have "Bell" switches that select more of a wide bandpass response.

3. Compressor

4. Gate/expander.

 

There's also an input stage and output stage, each with metering.

 

The Filter, highlighted in the second attached image, has low cut (up to 500Hz) and high cut (down to 3kHz) controls. The section also includes a button that chooses whether the EQ comes before or after the filter, and a Side Chain button.

 

Seems simple, right? Well, it is, but already you can start to hear there's a particular SSL quality to the sound. In fact, let's post a couple audio examples.

 

The source file is a loop from the first Discrete Drums sample library. The Duende Low Cut audio example automates the low cut to go from the lowest frequency to the highest. The Duende High Cut audio example automates the high cut knob so that it goes from the highest to the lowest frequency (i.e., where it cuts the most). Note that the examples are 320kbps MP3 files.

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First of all, I apologize for the delay between posts. I had a freak accident last week - there was a snowstorm and as I was climbing down from the roof to do a repair, the ladder's crossbrace broke and I landed pretty hard on my head and hips. That made it difficult to work or sit for extended periods of time. I'm doing better now, so back to the review - and we'll continue where we left off, with the channel strip. Let's look at the channel strip equalizer in more detail.

 

Referring to the first attached image, The EQ has four bands: Low shelf, high shelf, and two fully parametric midrange bands. However while all bands have the expected Frequency and boost/gain controls (with the parametric stages having Q controls), the shelving filters also have a "bell" option that adds a resonant peak.

 

The low shelf covers 40Hz to 600Hz, with up to 16.5dB of boost or cut. The lower mid parametric stage covers 200Hz to 2kHz, and the high mid parametric stage, 600Hz to 7kHz. Both offer a boost/cut of +/-20dB, with variable Q from 0.5 to 2.5. The high shelf covers 1.5kHz to 22kHz, also with +/-20dB of boost or cut.

 

However, in typical Duende fashion, SSL added some "under the hood" options. The innocent-looking "E" button actually selects between two entirely different EQ characteristics. In this case, let's paraphrase from the manual as the explanation of the differences between the two is quite succinct.

 

The EQ defaults to the G Series EQ curve, which has a degree of overshoot/undershoot (depending on whether you are boosting or cutting) below the selected HF frequency or above the selected LF frequency. At any Q setting, the bandwidth of the High Mid and Low Mid sections varies with gain, whereby an increase in boost or cut increases the EQ's selectivit.

 

I find this EQ most effective for "sweetening" the sound, and when using moderate amounts of EQ. For example, if you want the high end of a drum kit to "shine" without sounding shrill, the G-Series EQ is ideal.

 

The E setting emulates the SSL E-Series EQ. With this curve, the bandwidth of the High Mid and Low Mid sections remains constant at all gains, so at lower gains the EQ curves are comparatively narrower for a given Q setting.

 

SSL characterizes this sound as more "aggressive," and I can't argue with that. They mention it being useful for drums, as you can obtain relatively high Q values at low gain settings. In fact...check out the two audio examples. The first one is an unprocessed drum loop. In a dance mix it was too "thick" in the midrange, and competed too much with other instruments, muddying the sound.

 

The second example uses the channel strip settings shown in the attached image. In this case, the bass is boosted a lot so that the kick gives a solid, low-end "thud," with the High Mid Filter adding a considerable amount of boost (at just under 3kHz) to bring out the "crack" of the snare, yet not get in the way of other "midrangey" instruments. The High Frequency shelf is adding a bit of a resonant peak in the high end to really bring out the "air." Overall, the processed version "cut" through a track with tons of midrange a lot better.

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Given that the EQ can add real "character" to tracks if you push it a bit, I was a little taken aback that the Compressor section leans toward a more natural, smooth sound - at least that's what I'm hearing. But on another level, that makes sense because the Bus Compressor, alluded to by Phil in the previous post, has some of that "glue the tracks together" attitude associated with SSL compression. So, you have choices. However, as with everything else in Duende, there are also a few surprises.

 

The attached image shows a screen shot, with the Compressor highlighted. Actually SSL considers the Gate/Expander section part of the overall dynamics control that includes the Compressor, but for purposes of this review it makes sense to consider them separately.

 

Control-wise, there are the expected controls for Threshold, Ratio, and Release Time - we'll get into the more esoteric ones shortly, but for now, let's start off with a fairly plain application.

 

The audio example has six measures of an unprocessed synth part, followed by a very brief gap, followed by six measures of the same part but compressed gently with the channel strip compressor. The difference may not be obvious at first, but if you loop the file, you'll hear that while the "strong" parts of both sections are the same, in the first part there are several notes that are weaker and "drop out" a bit compared to the file as a whole. In the compressed section, these notes are given equal strength; overall, the compressed sound is stronger and more consistent.

 

Given that this is intended to be more of a background part, the consistency helps tremendously as the dynamics in the lead parts can take more of the spotlight. But the other interesting thing with these two sections is that the compressed version does so very subtly and gently. This isn't at all an "in your face" compressor, but more of a "consistency-izer" (to coin a very awkward word!).

 

The more I worked with the compressor, the more I found it excelled at giving gentle, subtle lifts to parts. It doesn't make the parts "jump out" as much as it causes them to, well, "stand up straight" in the mix. Very cool. And for narration, it helped give consistency to my voice without adding artifacts that said "HEY! THIS SIGNAL IS BEING COMPRESSED!"

 

However, you're not limited to simply making nice sounds at all, as we'll see in the next post.

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While the channel strip compressor can play nice, it can also get nasty. The key to this is the PK button, which chooses between peak and average response. Another button, Fast Attack, selects between a fixed fast attack (3ms to reduce the gain by 20dB) or program-dependent attack that ranges from 3 to 30ms.

 

Note that the PK button also changes the compressor "knee." If the ratio is relatively low, then the compressor knee is fairly soft ("over easy"). If the ratio is all the way clockwise, then the compressor becomes more of a limiter and when PK is enabled, this adds a "hard knee" characteristic.

 

I have two main tests for a compressor: One is how artfully it can compress a signal, and as we saw in the previous post, Duende passes that test. My other one is to see if I can get that "squashed" drum sound that was so popular in the 60s with groups like the Beatles and Traffic, and has now made a resurgence in dance mixes by musicians like Eric Prydz but has also become a bit of a hallmark for the "French" dance music sound. While most compressors can do this, what I look for is a smooth, "pillowy" quality that "breathes" instead of coughs.

 

Once again, Duende comes through. The attached image shows the settings I used for the audio example, which has a drum part being squashed big-time through the compressor. The key here is using Peak detection, but also, using a fast attack and setting a short release. (Program dependent attack reacts more rapidly to changes, so snare hits become more prominent instead of squashed, and the overall sound is more "percussive" instead of "squishy.")

 

In any event, listen to the audio example and hear for yourself. The compressor may look basic, but those buttons can add quite a change to the sound.

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The Gate/Expander is the final main section of the EQ and Dynamics Channel Strip; all that remains to be covered for the channel strip are some of the routing and sidechain options, and then we'll move on to the optional plug-ins.

 

Anyway, the Gate/Expander has a mix of familiar controls with a few extra goodies (hmmm, I think we've heard that before in this review...). Referring to the attached image, there's a Threshold control, Range (determines the amount of attenuation when the gate is closed, from 0 to -40dB), Release (100ms to 4 seconds), Hold (0 to 4 seconds - keeps the gate open for the specified amount of time regardless of what happens at the input), and two buttons. The EXP button, when enabled, turns the Gate into an expander with a 1:2 ratio. Enabling the Fast Att button gives an attack time of 100 microseconds per 40dB, and when disabled, there's a 1.5ms linear attack per 40dB.

 

As I tested the expander, I was surprised at how well it reacted to signals: No chatter, and a sort of "smooth" quality. Upon checking the documentation, I found out why: The threshold has variable hysteresis. What this means is if the gate opens at a particular setting, it will close at a lower setting; the end result is a more natural decay characteristic. Furthermore, the amount of hysteresis increases with lower thresholds.

 

Let me go offline for a bit and record an audio example...

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And here are some audio examples.

 

The first example is of the unprocessed drum loop used for the examples (from the Discrete Drums library).

 

The second example is gated reverb (reverb done using IK Multimedia's CSR Hall, just to prove I'm ready for the 80s revival :) The gate setting uses a high threshold, no release, but some hold to keep the gate open long enough to let some reverb ring through.

 

The third example is of gating without the reverb - just the drums and Duende.

 

The fourth example shows off the expander, set for a fairly extreme setting. Subtler settings give less of a "dynamics rolloff."

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While Craig is on the subject of dynamics (and forgive me if I'm preempting the next post), one of the tools I use most often with the Duende channel strip is putting the filters into the sidechain of the dynamics section. This is done by pressing the DYN SC button in the filter section. What this does is to remove any frequencies you filter out from the gain reduction detection circuit.

 

Why would you want to do that....?

 

Well, imagine that you have a drum loop you want to compress. using a "normal" compressor, when the kick drum plays the hi-hat gets very quiet, and when the kick is not playing the hi-hat jumps in volume. What you want is a nice consistent level on the hats.

 

By filtering out the low frequencies with the filters in the dyn sidechain, the high energy of the low frequencies of the kick drum no longer trigger the compressor. The low frequencies are still compressed, but they do not trigger the compressor (only frequencies above the filter will trigger gain reduction).

 

This means that you get a smooth consistent level of the HF content, while keeping a big bottom end.

 

great trick - well worth trying on all sorts of signals!

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While Craig is on the subject of dynamics (and forgive me if I'm preempting the next post)...

 

I think of it more as a segue :)

 

While you're here, I have a question about real-time bouncing. It seems that is necessary with any device that sends audio through FireWire because (correct me if I'm wrong) it's sending the audio out in real time to be processed, and returns to the computer in real time.

 

Pro Tools LE of course can only do real time bounces, so no worries there. With Sonar, you can uncheck "fast bounce."

 

But the other day, I wanted to apply the SSL Duende Bus Compressor in Wavelab, and render the file...but I couldn't find any option for a real time bounce, which precluded doing it (there were too many clicks and dropouts in the rendered file).

 

It seems to me that with more and more devices letting you use external hardware as a "plug-in," one would face the same kind of issues as you can't bounce through a hardware processor in faster than real time either. Do I have this right? And while we're at it...do you know any workaround for programs like Wavelab?

 

And...welcome to the thread! Feel free to keep coming up with useful tips. Either I don't know them, in which case your input is invaluable, or I do, in which case you've covered it so I'll have time to cover something else!

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You are completely right with your assumptions. Duende is optimized to process the Samples in realtime (this is what DSP's are best at)...

 

This is also called synchronous sample transfer, which you will find in any DSP environment.

 

Bouncing to Disk is asynchronous or as fast as possible, which speeds up native/CPU based effects when the CPU can switch off the Audio Playback and only "concentrate" on the plug-ins you are running in the selected track.

 

There is no real workaround for applications that do not have a realtime bouncing setting, it will try to push the "DSP" Hardware to process faster, but this won't happen and apparently there is a flaw in the VST spec, that does not provide safety to still process any sample and/or process accurately in blocks and always start where the last sample processing ended.

 

Therefore you lose or duplicate samples and the result are clicks.

 

The only way to capture Wabelab's Out in realtime is to use another system or a VST Plug-In, that streams the Output to Disk, like: http://www.silverspike.com/?Download

->down to Tape it 1 (free)...

 

You have to cut the ends afterwards...but it works...

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Jim mentioned putting the filters in the sidechain. The first image shows the "default" routing, with Input off (i.e., the Filter isn't the first stage after the output) and Dynamics Side Chain off. Note that in all these examples, the Dynamics section is post-EQ.

 

The second image shows what happens if you enable the Input switch: The filter goes before the EQ.

 

The third image shows Jim's scenario, where the filters go into the sidechain for the Dynamics processing.

 

But there's more...

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If you put the Dynamics pre-EQ instead of post-EQ as in the previous examples, the routing options change once more.

 

The first image shows the "default" routing, with Input off and Dynamics Side Chain off.

 

The second image shows what happens if you enable the Input switch: The filter goes before the Dynamics section, which goes before the EQ.

 

The third image shows Dynamic Sidechain enabled for the filter. It now provides the sidechain signal for the Dynamics; the Dynamics section is followed by the EQ.

 

And there are still more routing options...

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So far, we've looked at routing options involving the Filter section. But there are also routing options involving the EQ if you enable Dynamic Sidechain within the EQ module.

 

The first image shows the "default" routing for using EQ in the sidechain, with Input off, Filter Dynamics Side Chain off, and EQ Dyanmics Sidechain on. The routing is the same whether the Dynamics section is preo or post EQ, as the EQ stage only relates to sidechaining.

 

The second image shows what happens if you enable the Input switch: The EQ section is post-Filter instead of pre-Filter.

 

The third image shows what happens if you enable the Filter Dynamic Sidechain option: Now both the Filter and the EQ are part of the sidechain.

 

Finally, the fourth image shows the most important part of the sidechain: The option to monitor the sidechain signal by itself. For example, if you want to have only the kick appear in the sidechain, as per Jim's example, you can monitor the sidechain signal and tweak the filters to isolate the kick as much as possible.

 

And that takes care of the routing options in the Channel Strip, unless I've missed something!

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All right--time to have some fun! We'll isolate just the kick using the sidechain, and set an outrageous amount of compression, so that every time the kick hits the compression goes insane and gives an ultra-squashed sound. Then we'll mix that with the original sound to get something not quite as anarchic as the compressed sound by itself, but something that's still pretty rude.

 

The first audio example has a drum loop from the Discrete Drums library without any processing at all.

 

The second audio example has the output of the sidechain monitor. The Filter and EQ sections are in the sidechain, and tweaked to really emphasize the kick.

 

The third audio example shows what happens when you super-compress the drums with only the kick. Squash-o-rama! Granted this isn't all that musically useful (hmmmm...then again, maybe it is) but we can tame it.

 

The fourth audio example mixes the original drum loop with the super-squashed loop. The end result is a pretty aggressive drum loop that retains some dynamics, courtesy of the original loop, but also folds in the squashed background to add some fatness and nastiness.

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Say u have 32 channels in use with the ssl channel strip, and u find that the 4 band EQ is somewhat not enough, can u add 32 instances of the X-eq?

What are the limitations of the X-EQ in combi with the channel strip amount of tracks/channels?

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Thanks for the review so far. I hope you'll end up going over the X-EQ, X-Comp, and the extra plugins =)

 

With the NAMM announcement, I'm seriously looking at the new packages. I know you touched on this, but is the latency or processing power any different between an expanded Duende Mini and Duende PCIe?

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Duende has 32 channel processing slots.

 

You can run 32 channel strips in mono

or

16 channel strips in stereo

or

16 channels in mono and 8 in stereo

 

etc etc

 

X-EQ also takes 1 DSP slot in mono or 2 in stereo, so you could run 16 mono channel strips plus 16 mono X-EQs

 

Hope this answers the previous question

 

I had a good chat with Craig at the NAMM show, and will be getting some more details up in the coming days once my jetlag subsides!

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Hey, Anderton, great job on reviewing Mini-Duende! Thank you!

 

I actually have PCIe and it works fine now but only after a big fght with plugins authorizations (I have them all). It was a really nasty one and this problem somehow has gone by itself... for now at least, I guess. It has already happened once to me.

 

Anyway, just to say it's a pleasure to use Duende in every way, especially sonically speaking. X-Eq is a killer, Channel Strip is a good all around tool, Drumstrip is really really good integrated drumstrip, X-Comp: well, I haven't mastered this one yet, pretty dark horse for me. BusComp is perhaps the one that wouldn't meet my expectations, but can come handy. I guess for this particular purpose I still prefere my API 2500 (hardware).

 

Actually, I wanted to post about a possible workaround with Wavelab and realtime bouncing. I won't lie: I didn't do it because I have never needed to do this trick on purpose (to fool Wavelab) mainly because I'm mixing pug-ins and hardware in wavelab master section. Still not clear? Well, in Wavelab 6 one of the greatest function is to be able to integrate your external gear (I'm doing it with my SPL Tube Vitalizer for premasters). And what do you know, it is actually the only way to put the render function in realtime mode. Now, when you're rendering, you're actually running all the master section plugins in real-time and Wavelab is printing it in a file. All this, just by inserting the External Gear plug-ins under /ASIO and setting up the routing in connections.

 

So, my solution is, with some advanced routing of your asio (to hook up your digital out on a digital in) you actually don't transform your sound staying in digital domain. It's like using a "null" gear, i.e. just hooking up an AES OUT on an AES IN. If you can't route it internally, you can always do it phsically with a cable by creating a digital loop (just be careful :))). And it's done. No fancy plugins (even if it can be handy, of course!). The only thing to remember is that AES works in 24 bit, so if you're in 32 bit you may want to dither it before or better, just put a hard brickwall limiter at 0 to prevent the overshoots. Wavelab will compensate for the lookahead delay. If you don't have AES IN/OUT, you solution can be a virtual cable app' though I've never used it personally.

 

 

I hope it can come handy to some who's looking for realtime printing under Wavelab.

 

Jim, big fun of you and your company. As SAE teacher, I can only advise to my guys to go for your brand!

 

sH

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