If you have questions, please call -855-938-2776 or. On to the plug-ins themselves -here are just a few of my favorites. I map its controls to knobs on my remote keyboard so I can really have at it -just like keeping the real hardware in front me. I just tweak it gently, and it keeps the production moving forward without any second-guessing, whether I'm aligning something recorded to two mics or I'm going for a chorusing effect. Tip: Send your bass in parallel to the 33609 and push the input to add excitement and vibe, while still maintaining the dynamics of the original signal. The original hardware unit is one of the most widely used equalizers in mastering. Experiment with the different versions in the collection before reaching for an equalizer.
Matt sold his real dbx 160s because the plug-ins are that good. Be mindful not to push the volume of that aux track too much. Carl Cox -it totally rocks his world. For example, if you have a synth line going that's rising and repeating, and you want to add a delay to it, put this after the delay. This tape emulation plugin is perhaps even more versatile than the Studer A800 given that it has a built in delay and additional tape characteristics.
I do a lot of mixes on the road, and the availability of world-class plug-ins that don't suck the life out of my system is invaluable. The Neve 1073 and 1081 Equalizer emulations are stellar and sound crisp and smooth, even at the extreme edges. Similar raves for the Neve 33609 Compressor -I've spent plenty of years with the real thing. It mimics the sound of the Pultecs literally. I'm using it when I'm working on music for adverts. The fact that you get several variations makes the collection even more powerful.
And finally, the Fairchild 670. If I had only this plug-in on every channel, I'd be good to go. Despite having minimal controls, this emulation of the classic hardware compressor is extremely versatile. Try it on electric guitars, with a couple dB of gain anywhere from 1 — 3 kHz for bite without the fatiguing quality that other plugins can sometimes add. .
When you're making those kinds of decisions, you have to use and trust your ears -not the pictures on the screen. Tip: These compressors have their own unique tonal characteristics in addition to being adept at managing dynamic range. I've only had a chance to truly mess with the hardware once or twice, in Eric Valentine's BareFoot Recording. This has to be one of the more challenging tasks given to me from the Tape Op High Command, simply because it's hard to pick just a few -they're all pretty awesome! Liam Howlett The Prodigy loves it and wonders how he ever did without it. On the last Prodigy album, I used this plug-in across whole drum groups as well as the mix bus. This compressor, which models the classic Neve hardware, is a regular on kick, snare, drum buss and master buss.
I use it to bring multi-mic'ed instruments in focus. And these are as good as one could imagine them to be. They can't be beat for a little top-end hype -especially nice on drum overheads or snare. I've been using tons of Pultec Pro. You have to mind yourself because 1 db is a lot -just like on the real thing.
It gives Waves a run for the money, without a shadow of a doubt. If you listen to a real Dimension, the tail gets tinny, and that's part of its charm. It can also really warm up a master buss and is excellent on lead vocals and close-miked drums. It's a brick wall, and it won't let you come up for air; it just slams everything. Similarly, I didn't bother adding any plug-ins or accessories that I didn't find essential to my own projects. For example, they've got the tail of the built-in channel compression right.
The Precision De-Esser -it's very simple, it does its thing very nicely, and this is a fucking good thing. He's on the road 280 days a year, making beats out of hotel rooms and intercontinental jets and rocking it in the clubs and venues. Please check out the Moog Multimode Filter. For the most part, this is fine, but it would be nice to have dedicated text-entry boxes on every plug-in interface; mousing over knobs isn't always the most accurate method of parameter entry. An Info pane under the Configuration tab offers great tool-tip-style pointers straight out of the manual, too.
I opted for the laptop card for a degree of portability, and I was also curious to see what kind of mixes I could build on my rapidly aging Intel Core 2 Duo MacBook Pro running 10. Efficient, clear controls and amazing fidelity -I could see these being a mastering engineer's secret weapons. Intuitive, and easy to use, but also full of character and interesting tones. Pure Plate Reverb Engineered by the modeling experts at Universal Audio, Pure Plate Reverb offers the organic, lush sonics of plate reverb in a simple, affordable package — and with all of the essential features. I introduced it to Matt Robertson who has contributed to Tape Op in the past.