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Everything posted by 144dB

  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.
  16. Hey all, I was going to mock up a fancy diagram, but I think I can ask this question with a simple word-based example. This has always eluded me about pre-delay on reverbs, etc. Let's say that you record the words "Doh - Re - Mi" into a DAW or recorder. If you slap a reverb on it with no pre-delay, all of the words, syllables, consonants, vowels, etc. will get reverberation. If I now put a 50 millisecond pre-delay on that reverb, does "Doh" get reverberated in full but 50 milliseconds late, or does "oh" get reverberated and the "D" get dropped altogether? In other words, does pre-delay delay the reverberation of the full passage, or does it delay the onset of the reverb, which then omits certain elements of the sound (for example, the attack transients only)? I suppose I could set up a quick experiment to confirm, but I'm sure the board will have the answer. Thanks in advance.
  17. I used the demo again today, and it really sounds great on drums. I roll off 300 Hz, and it gives a nice depth to snares and hi hats without clouding the mix. The one thing about this plugin, is that it's hungry. You can run a dozen stereo EMT140's on a duo card, but only four stereo instances of the BX20. Lately I've been using the Waves versions of the 1176 and LA2A/LA3A, so my UAD has become more of a reverb card for me. I also use it for it's fantastic emulation of the SSL G-series bus compressor. But if you have an older system, the BX will tax it a bit.
  18. I'm with you Phil... Normally I would leave, but in this case it was my wife's party and I had to make the sacrifice. I think the sound might have affected me more than the average attendee, since my ears are really sharp right now. Funny enough, the venue had massive traps on all walls, but the sound was still terrible. Each trap was about 8 feet wide and 16 to 20 feet tall with mineral wool behind it (and a ~2 foot air gap). There were six to eight on each wall. Either the DJ needed to dip out 250 Hz and 400 Hz, or the room was still really bad. It was horribly boomy. I'm amazed how many performers and/or actors have damaged hearing. I once saw a list on the web, and to Nat's point, a lot of it is from pyrotechnics or sound effect mishaps.
  19. Hey all, When I think of "spring reverb", I think of cheap, tinny sounds from guitar amps. I recently checked out the UAD plugin version of the AKG BX20, and I was pretty blown away. I put it on a drum track with an EQ in front of it (I rolled off 300 Hz and below, and shelved the highs by -3dB above 5 KHz), and it sounded fantastic. I also put another instance on an EP solo and it sounded equally great. I'm going to try it on a guitar track today. It's on sale and I have a coupon, so I think I'll spring for it (no pun intended). It definitely has a different sound than my EMT-140 plate emulation, the EMT-250, and the Lexicon 224 (my standard go-to's). Fun stuff.
  20. From now on, I think I'm going to carry a pair of ear plugs with me. I went to a work party with my wife last weekend, and the DJ was playing about 20 dB above "loud". I went fowling last night (football bowling), and again, the music was about 10-15 dB above a normal listening level. It's just not worth it... I've spent a lot of time honing my ears and learning to pick up small details, and when you get in an environment like that, it's damaging.
  21. That's a pretty grim assessment Etienne, but I'm too far over the precipice. If I were starting out with zero gear and zero knowledge, I might heed your advice and leave recording/mixing/mastering to the studios. But I've studied this (in one way, shape, or form) for decades, and I'm close enough to where I can see the possibility of creating something really special. Some days though, it can be a challenge.
  22. Man... As unlikely as it is that a manufacturer would actually follow this advice, it would oh so helpful to have a second pan pot for stereo channels. They are a reality in today's world, and at least in my DAW (Cubase), the panning control becomes useless once a stereo channel comes into focus. A second pan pot would solve that problem.
  23. Hey all, I just want to say that this technique/tool has been one of the biggest boosts to my mixes in a long time. By default, I'm putting an EQ in front my reverbs and delays now. There is a tremendous amount of boom and mud that comes out of your average reverb or delay (particularly some of the ones that emulate vintage gear), and putting an EQ in front of it makes a big difference to mix clarity and pleasing sonics. Sometimes I do the Abbey Road trick (roll off everything below 600 Hz and everything above 10 KHz), and in other cases I'm more detailed in my approach. The key is putting the EQ in front of the reverb/delay. You can do it after, but I find that it removes too much from the reverb. If you want to try this yourself, do a 100% send to a reverb, and set the send as pre-fader. Then kill the fader on the source track and solo the reverb channel. You might be surprised by what you hear. Now put an EQ in front of it, roll off the bottom and top end, and disengage the pre-fader switch. Now bring up the source track and set the send level to taste. Magic...
  24. Hey all, I've wanted a control surface for a long time, and I finally pulled the trigger on a Presonus Faderport (the single, not the new "8"). I looked at the Faderport 8, but the lack of channel-specific pan pots was a deal breaker for me. I like it a lot, and it makes mixing a lot more fun and intuitive. I wish it had a second pan pot, as Cubase has a dual panner for stereo channels, and there is no way to control both sides of the channel with the single pan pot control. I also wish you could shift-click or control-click multiple channels with the mouse and control them as a single fader (without linking them), but that doesn't work with Cubase 6.5. I also wish the pan pot was a bit more coarse (or I wish it had a sensitivity setting), as it's very fine out of the box. Generally if I'm sweeping the panning, I'm doing it in a pretty drastic fashion and it takes a lot of turns with the Faderport to cover the full L/R spectrum. But overall it's a great product and I recommend it. I think there is room in their product lineup for a Faderport "Pro", and I'd love to see a second pan pot (maybe with LED crowns), and an LCD scribble strip perhaps. Fun stuff...
  25. Hi Craig, I don't see it happening. If it would have happened, it would have been 15 years ago when Linux had more momentum. Independent of it's merits, the music software companies don't have the resources to develop or maintain another platform. I think if they are contemplating another platform, it's going to be a tablet-based solution (as impractical as that is for editing, given the limited screen real estate). My system is really stable with Windows 7, but I'm running software that is a bit older (Cubase 6.5 and Wavelab 7), and I keep it off the internet completely. I'd love to see Microsoft to an ultra-stripped down version of Windows for folks like us, but I don't see that happening either.
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