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144dB

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  1. Hey all, The Empirical Labs Distressor is a revered compressor by many, and it's all the more interesting now that UA has a plugin. Slate Digital and Empirical Labs also offer plugin emulations. What are some songs that feature it's sound? Much like the Beatles are associated with the Fairchild, is there a band or song that comes to mind that features the Distressor prominently? Getting another compressor plugin isn't going to help me finish projects, but I'm still curious what the distinction is with this unit. Thanks in advance.
  2. Thanks Mike - Very interesting to know the history. Todd
  3. Hey all, I'm still learning, and I just recently came across the idea/suggestion of putting a reverb on the main mix buss. I trust this is to help glue the different sounds together, and I also suspect it's intended to be a very small amount. I suspect this reverb would be EQ'd, just like others (e.g. roll off the bottom and possible the top). Do you do this with any of your tracks? Also, would you put the reverb ahead of or behind a buss compressor (my trusty UAD SSL 4000 emulation)? I would think after, as the compressor would tend to pull up and squash the reverb. I guess I can try it both ways. Any input is appreciated. Todd
  4. Hey all, I was reading about how distortion is used by producers in small amounts to give certain elements more presence. It might be a vocal, a drum, etc. Any thoughts on how you have done this with your own tracks? Any suggestions on plugins? I have my eye on Fabfilter Saturn and perhaps AudioThing's Vinyl Strip (which does more than just distortion). I do a decent amount of electronic music, and the overdrive and distortion plugins with Cubase 6.5 are not fantastic. Thanks in advance. Todd
  5. Spectrasonics Trilian. It's my first Spectrasonics plugin. I'm looking forward to playing with it.
  6. I use the UAD EMT-140 plate the most. I always EQ the return to cut-out the bottom end (much like the Abbey road plates were setup). I also have the EMT-250 emulation, the AKG BX-20, and the Lexicon 224 emulation, but the '140 gets the most use by far.
  7. I'm a Steinberg loyalist. I'm certain there are other great products out there, but with what little time I have for music, I don't want to waste any of it learning a new application that is 95% similar in terms of workflow and output. Someone would have to come up with something extraordinary for me to ever consider switching. Cubase does everything I need, and I've been using it for over 15 years and it's become an extension of me. I started with VST 3.7 in the late nineties, then switched to VST 5.5 in the early 2000's, then switched to SX 2.x, and now I'm on 6.5. I would upgrade to 9.5 if it wasn't such a pain to wipe my system clean, reinstall everything, etc. Having come up with DAWS in the early 2000's, I wouldn't just install an update over an existing application. Maybe Windows and music software have come far enough to do that, but I would still want to start with a clean install. I know it's a Pro Tools world in the pro world, but I'm not pro and I never work with professional studios. Cubase hits the right balance for me in terms of features, workflow, sound, etc.
  8. A few that come to mind are below: Fabfilter Pro-Q 2 It's just simply one of the most flexible and visually intuitive equalizers out there, and it sounds great. UAD SSL 4000 Bus Compressor I know of few things that can glue a track together better than this, and I love that 80's/90's sound. Waves or UAD 1176 emulations I use the cheap and cheerful versions as opposed to the newer, hungrier editions, but I find that either brand captures the 1176 tonalities quite well. Of all vintage compressors, I find myself using the 1176 most. Klanghelm VUMT A low-cost virtual VU meter, this is a must have (for me) for recording. I love checking levels with it, in addition to using Cubase's built in meters. PSP Lexicon PSP 42 and PSP85 Great classic delays... UAD EMT-140, EMT-250, AKG BX-20, and Lexicon 224 reverbs A great collection of reverbs all around. I love the BX-20 on snares and side stick. UAD Precision EQ and Precision Limiter This is the final stage of my mastering chain, and I love them both. Sometimes I'll slap the Ampex ATR in the chain for added glue. The plugin that intrigues me the most right now is the UAD Empirical Labs Distressor, but I don't need another compressor right now.
  9. It's the Paul Reed Smith gift shop for the win... Thanks guys.
  10. Hey all, I'm a keyboard player and audio guy, so guitar is a bit out of my wheelhouse. I have a friend with two Paul Reed Smith guitars, and he tends to favor eighties metal (Def Leppard, Motley Crue, Guns & Roses, etc). Any suggestions for relevant gifts under $100? I would assume he already has a Crybaby and a swell pedal. Anything else is fair game. Thanks in advance. Todd
  11. I think it's a pretty universal problem among musicians, but I have it particularly bad. Once something is finished, there are no more excuses. It's judgable at that point, and that's scary to a lot of folks (myself included). I read "The War of Art" a year ago, and that helped. I also give myself permission to suck.
  12. I own it and I absolutely love it. I use it more than any other EQ plugin I have, and I have quite a few (Cambridge, Waves Renaissance, Q10, UAD Pultec, PSP McQ and ConsoleQ, etc). The user interface is awesome, and it's one of those rare plugins that I learn something from. Even if I choose a different EQ for a certain sound, chances are I will try it first with the Pro Q2 just to get a visual and an understanding of what's happening. For the price they ask, it's a steal.
  13. Keyboard magazine used to have their Soundpages in the 80's. I loved them. I remember when I first heard the Korg M1 demo, my jaw was on the floor. I also remember a great one from Patrick Leonard and one from Chick Corea playing Herbie Hancock.
  14. Thanks guys. I did a quick experiment with a snare sample, and your feedback is all correct. It's funny how you can't always hear the delay (for example, the initial crack of the snare), given the relatively low level of reverb that is typically used. But it does provide breathing room for the original sound, and I'm going to experiment with this more in my mixes.
  15. I noticed strong partisanship 15 years ago, but not so much now. There was a lot of rivalry between Logic and Cubase users, for example. There are more choices now, and from my chair, whatever works for you is great. I'm a loyal Cubase user because I know the application well, and I can get around on it very quickly. I don't think there is a difference in sound quality (or an appreciable one), so it all comes down to workflow and what feels best. I also really can't be swayed into believing that my output or productivity would be better with tool 'A' vs. tool 'B'. As someone noted prior, I would lose so much in terms of the learning curve, that any small differences in productivity aren't worth the trip. The software that is available now from various manufacturers is ridiculously powerful. If I'm not getting something done, it's not the software's fault. Stability has also been great with recent apps, and on the rare occasion I do upgrade, I wait for the 0.5 point release.
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