RecPit

Bob Olhsson (if I am not mistaken) mentioned that often times he would go through several compressor options for a particular track and that there's no plugin that will "just work" all the times. He also said that it was not a thing with analog gear.
Now my memory could play tricks on me, but I believe that's what he said.
So, firstly, this probably means that plugins are still lagging behind software (big surprise, I know).
But on the other hand, do you think there is a tendency with plugins to go through options because it is simply possible?
Obviously, with Bob's experience he knows what he needs from a tool and can make a choice accordingly, and he is mastering engineer, so the tools have to be more precise. But do you think in a mix it is better to just stick to a set of tools and go?

I think it’s always a a question of “is this doing what I wanted, and needed, it to do?” And not getting caught up in an endless game of ‘can I beat it, or ‘I wonder what THIS would do’

The phrase "paralysis by analysis" comes to mind.

That said, Echoboy $49

https://mailchi.mp/soundtoys/spring-sale-2018-echoboy

I know there's no "best plugin", but I really miss the Abbey Road stuff. I still haven't found anything to really replace the Mastering Pack and RS124, and I had to stop using them a few years ago.

Something I found since I started using Harrison Mixbus is that there's something incredible liberating about having the same built in EQ on every channel. I'm sure a few people here will be thinking "no duh" ...

With past DAWs, I'd always have to decide - do I want my favourite digital do-it-all eq? Something that pretends to be a Neve? Or an SSL? Or a Pultec?

Now I'm mostly happy just to use the built in EQ, and a bunch of EQ plugs have fallen to the wayside, apart from waves puigtec for those boost/cut curves and IK's 432 emu on the master.

All the EQs are perfectly good, but having every channel eq sitting on the screen waiting for me kind of revealed to me that I was engaging in folly before, worrying about flavours of EQ when I'd have been better just thinking about what frequencies I want to boost or cut and getting on with it.

It's a slightly different story with compression, though.

The built in channel compressors are perfectly good. But I still feel like for whatever job I want it to do, from drum room to master bus to backing vocals, different compressors make the track feel different and it's worth going through a bunch to see what works best.

weedywet wrote: ↑April 3rd, 2018, 8:53 pm I think it’s always a a question of “is his doing what I wanted, and needed, it to do?” And not getting caught up in an endless game of ‘can I beat it, or ‘I wonder what THIS would do’

Indeed.
But some people seem to need more choices and some less. And I wonder if there's narrower "operating window" with plugins even still.
Lately I tried to stick to a template with a same channelstrip on all tracks, so far it works nicely.

nobby wrote: ↑April 4th, 2018, 4:06 am That said, Echoboy $49

Yeah, nice offer!
I managed to grab it for this price on a BF few years ago. But I actually not using it that much, I bought this
https://www.tritik.com/products/tkdelay/
when it was cheaper. Nice delay with really straightforward interface. Easier to setup for me than Echoboy, and zero latency.

unitymusic wrote: ↑April 4th, 2018, 9:18 am I know there's no "best plugin", but I really miss the Abbey Road stuff. I still haven't found anything to really replace the Mastering Pack and RS124, and I had to stop using them a few years ago.

Didn't Waves release something in the same style?

Cirrus wrote: ↑April 4th, 2018, 10:34 am Something I found since I started using Harrison Mixbus is that there's something incredible liberating about having the same built in EQ on every channel. I'm sure a few people here will be thinking "no duh" ...

I totally get what you mean!
I set up REAPER template with the same channelstrip on every channel and I feel it's much faster to mix this way.
Another revelation to me was having FX sends (couple delays, couple reverbs, chorus, and doubler) already initialized on all the tracks.

meloco_go wrote: ↑April 4th, 2018, 3:12 pm

unitymusic wrote: ↑April 4th, 2018, 9:18 am I know there's no "best plugin", but I really miss the Abbey Road stuff. I still haven't found anything to really replace the Mastering Pack and RS124, and I had to stop using them a few years ago.

Didn't Waves release something in the same style?

Waves did release an Abbey Road line of plugins, I think I demoed them a while ago and wasn't that into them so I never bought any. Maybe I'll give them another try at some point.

I got the Waves Abbey Road Plates which I like a lot a while back.

I have their Abbey Road Brilliance Pack demo which I have never authorized -- I think it self destructs in about to weeks. I don't really think I need another EQ/ saturation plugin...

Waves SSL stuff is on sale until the end of the day, FWIW.

Switchcraft XLR A3F. It's indispensable.

nobby wrote: ↑April 20th, 2018, 12:09 am I got the Waves Abbey Road Plates which I like a lot a while back.

I have their Abbey Road Brilliance Pack demo which I have never authorized -- I think it self destructs in about to weeks. I don't really think I need another EQ/ saturation plugin...

Waves SSL stuff is on sale until the end of the day, FWIW.

The brilliance pack was my least favorite from the original Abbey Road line, but Softube kept it going so it is the only one that I still use. I don't use it super often, but it can be pretty convenient sometimes. I've never used the Waves version [if there is one] if that's what you're talking about, but it's probably worth trying.

For ITB stuff I always seem to just use the Oxford suite most of the time, mainly because I like the interface. Also laziness.

My mixes improved dramatically once I stopped obsessing over tiny details. Now my most common studio mumble is "yeah this sounds like shit, retrack".

Oxford is mighty good.

For the most part, I've ended up with a short list of compressor plugins. I tend to know what kind of action I want out of them and rarely switch them out:

FET: Slate blue stripe 1176

VCA: Waves dbx 160

Opto: Brainworx Opto

Vari-mu: Slate FG-MU

I've also got emulations on my Antelope interface, and really love the RCA BA-6A on vocals.

I know some people get great results from one non-emulated software compressor, but I really think of them as different flavours... just down to the different ways peoples' brains work I guess.

The biggest hurdle for me was learning when not to compress something... still learning! :D

I've lately been using the Scheps Omni Channel compressor for individual tracks. It doesn't emulate a particular hardware compressor but it seems to work very well for most things.

It has 3 "buttons" for VCA, FET and OPTO and it instantly level-matches between them.

I have the Slate everything bundle for when I want to get bogged down with time consuming decision making

weedywet wrote: ↑April 3rd, 2018, 8:53 pm I think it’s always a a question of “is this doing what I wanted, and needed, it to do?” And not getting caught up in an endless game of ‘can I beat it, or ‘I wonder what THIS would do’

I had sworn off buying new plugins but some say relapse is part of the recovery process...

https://www.waves.com/plugins/abbey-road-chambers

Have you tried it?

I’m on tour but I just bought it to have.
It’s certainly going to be worth $29

Gronk wrote: ↑July 26th, 2018, 11:04 amHave you tried it?

Not yet. I just bought it yesterday. I wanted to get it while it was on sale because sometimes they aren't bluffing and it goes back up to $200.

It might be worth the $29 just for the tape delay alone. I've been amazed, in a bad way, at how difficult it is to get a decent single repetition tape delay out of delay plugs that can do everything else including things I'll probably never need.

Those little dots are there for abbreviation, not as cute little spacers!

The Abbey Road Chambers are pretty nice. I don't have too much need for STEED or the filters, but as a set of IR's it's worth $29!

Speaking of convolution, one of my old favourite plugins is SIR1 https://www.siraudiotools.com/sir1.php

Has always done well for me. I'm not sure if all impulse loaders should be the same, but whatever. Looks like they have a new version out I'll have to try.

upstairs wrote: ↑July 27th, 2018, 8:00 pm Speaking of convolution, one of my old favourite plugins is SIR1 https://www.siraudiotools.com/sir1.php

Has always done well for me. I'm not sure if all impulse loaders should be the same, but whatever. Looks like they have a new version out I'll have to try.

With the exception of Kazrog's Recabinet, which can emulate speaker distortion on top of whatever IR you stick in it, they are all the same. Both DAW's I've used for any length of time - REAPER and Logic, both have free IR convolution plugins.

I went for LiquidSonics' Reverberate Core, because it comes with some nice true stereo IR's.

One day, when I can justify the cost, I'll spring for Altiverb. Mainly for the Utility Muffin Research Kitchen IR's!

I thought I heard that Altiverb in particular does something algorithmic to add a bit of a brand to its sound. Could be BS. Though if it has UMRK impulses, what more can you ask for?

Didn't Lady Gaga buy his house after Gail died? I wonder what's become of it.

upstairs wrote: ↑July 28th, 2018, 9:39 am I thought I heard that Altiverb in particular does something algorithmic to add a bit of a brand to its sound. Could be BS. Though if it has UMRK impulses, what more can you ask for?

Didn't Lady Gaga buy his house after Gail died? I wonder what's become of it.

It's got a separate algorithmic reverb that can blend with the impulse response, as well as modulation of the IR. Nothing too revolutionary.

Companies like LiquidSonics and Acustica (makers of Nebula and Aqua plugins) have nifty techniques for capturing hardware in more dynamic ways than a standard IR, but I've yet to find a company that can do the same for real spaces.

And yeah, I also wonder what Gaga is doing with the Zappa house... renting the studio out to innovative musicians I hope!

On the Abbey Road Chambers - just saw on Michael White's video on it that there is a signal flow button that I missed. It shows you the flow from STEED to the filters and chamber, which is pretty handy.

Rev. Juda$ Sleaze wrote: ↑July 28th, 2018, 10:01 am
It's got a separate algorithmic reverb that can blend with the impulse response, as well as modulation of the IR. Nothing too revolutionary.

I've been using Altiverb for years, and I had no idea about that.

The Allaire impulses are nice in Altiverb, as are some of the concert halls and cathedrals.

As a post guy, most of the impulses I use are domestic spaces for matching ambience on ADR.

Cheers,
Tim

Tim Halligan wrote: ↑July 28th, 2018, 2:58 pm

Rev. Juda$ Sleaze wrote: ↑July 28th, 2018, 10:01 am
It's got a separate algorithmic reverb that can blend with the impulse response, as well as modulation of the IR. Nothing too revolutionary.

I've been using Altiverb for years, and I had no idea about that.

The Allaire impulses are nice in Altiverb, as are some of the concert halls and cathedrals.

As a post guy, most of the impulses I use are domestic spaces for matching ambience on ADR.

Cheers,
Tim

It says it on the website!

Having IR's of the studios that my Superior Drummer samples were recorded would be very nice.

Still, for the price of Altiverb I could buy an RE-20 and hire a hall to record a drum part (a village hall, not a concert hall, but still)...

So all Waves compressors are selling at $29 this week. Are there any recent ones which stand out? I own C1 and would often use it in split mode, but overall I demoed some of their compressors a while back (CLA collection and SSL) and actually was underwhelmed. They all seemed to have the same kind of "flattening" effect over any sort of material (yeah, compressors do flatten the dynamics, but that was something else).