Saturation

[VELLTONE MUSIC]

I use the UA API Vision console on everything. I actually prefer the way UA's Helios saturates but Vision loads automatically in Luna, so I just end up using that. Other things that load automatically are Studer A800 on every channel, API summing on every channel, API 2500 on the main buss, and Ampex on the main buss, all of which have varying degrees of saturation. Then I add Verve manually to every channel, bringing me to a total 6 different stages of saturation just at the mix stage.

Thanks for reply
I have few native plugins from uad and really like their saturation,especially combined.
Do you have some preferences of console saturation before or after other saturators?
I haven't found specific order to be superior yet,but experimenting with transformers and preamps as part of the chain...

[Uncle E]

Tape (Studer)
Console (with built-in compressor)
Tape (Verve)
Summing
Tape (Ampex)
Main Bus Compressor

The idea is to have clipping before compression, that way the compressor doesn't have to work so hard on transients and will sound more natural. It's the basic principle behind the Distressor.

[VELLTONE MUSIC]

Tape (Studer)
Console (with built-in compressor)
Tape (Verve)
Summing
Tape (Ampex)
Main Bus Compressor

The idea is to have clipping before compression, that way the compressor doesn't have to work so hard on transients and will sound more natural. It's the basic principle behind the Distressor.

Thanks for ordering idea - tape before console sit really nice in the mix.
Cheers

[pekbro]

HOFA is working on a new saturator that I’m pretty interested in, supposedly you can pre-order it, but the site is not working for it currently. Colour Saturator, 2nd in the colour series I guess.

https://hofa-plugins.de/en/shop/colour- ... saturator/

[VELLTONE MUSIC]

4000 E/G console saturation are interesting.
I use mostly 9000j,which is more focuced and give nice hardware feeling,but these classics are wonderful as well.
Listen what happening when saturation increase after 5:40

[stoopicus]

Any thoughts on Oxide vs Flywheel for an inexpensive-but-good tape emu?

I also have Saturn and could also roll my own with Multipass + Faturator so I am pretty covered. I own Oxide now as part of UAD Essentials, but I was also considering Flywheel.

[jamcat]

Tape (Studer)
Console (with built-in compressor)
Tape (Verve)
Summing
Tape (Ampex)
Main Bus Compressor

The idea is to have clipping before compression, that way the compressor doesn't have to work so hard on transients and will sound more natural. It's the basic principle behind the Distressor.

You should have preamp/console for the tracking console before (multi-track) tape, then console again for the mixing console followed by (master) tape for the mixdown. Use a Neve style for the first console and SSL for the second console.

I don't understand why you've got tape 3 times, though.

[El°HYM]

Actually there are no preamps in digital, what those emulations are adding is saturation. So basically those are also saturators.

[jamcat]

Any thoughts on Oxide vs Flywheel for an inexpensive-but-good tape emu?

I also have Saturn and could also roll my own with Multipass + Faturator so I am pretty covered. I own Oxide now as part of UAD Essentials, but I was also considering Flywheel.

Consider Ampex ATR-102 instead.

[Uncle E]

You should have preamp/console for the tracking console before (multi-track) tape, then console again for the mixing console followed by (master) tape for the mixdown. Use a Neve style for the first console and SSL for the second console.

Nice, I’ll try that!

I don't understand why you've got tape 3 times, though.

It’s ridiculous, I know, but it sounds great. I would even say that Verve is the thing that brings it all together. When I forget to use it, it’s like I’m back in the ‘00s and ‘10s with everything sounding flat.

[aMUSEd]

I assumed Verve tape would have been a cutdown version of Oxide or one of the other tapes, not something different

[Uncle E]

It’s entirely possible. I don’t use Oxide enough to know, and that would be the most similar of the three. Studer and Ampex can’t get as heavy-handed.

[_leras]

I assumed Verve tape would have been a cutdown version of Oxide or one of the other tapes, not something different

It seems really different to me. Verve is more of a tape flavours effect, grungy, retro, VHS type things.

Oxide is great, it's just a good sounding tape option that goes nicely into saturation as you push the levels. And simple to use.

It's not as detailed or as expensive sounding as the ATR, but it's better for somethings imo. I even use it in my master chain for electronic music.

[jamcat]

You should have preamp/console for the tracking console before (multi-track) tape, then console again for the mixing console followed by (master) tape for the mixdown. Use a Neve style for the first console and SSL for the second console.

Nice, I’ll try that!

Here's how, and why:
It was really common to record on a Neve, and mix on an SSL. People liked the warmth of the Neve preamps, and the fixed-band EQ seemed to be perfectly chosen for bringing out the best qualities of instruments. But when it came to mixing, SSL's automation, along with its fully parametric "surgical" EQ and compression on every channel made it ideal for "fixing in the mix."

So the way you should use these two very different types of console channels is, first, use the Neve channel to get each instrument sounding its best with the preamp and broad EQ boosts. Don't worry about how it sounds in the mix during this stage. It's just about getting the instrument sounding as good as it can in isolation. Use the preamp to drive the multitrack tape level to get the right amount of natural tape compression to shape the track. Tape completely transforms drums and guitar in particular into the sound we know as "rock n' roll."

Once all instruments are kicking ass on their own, add your SSL channels and start mixing the entire track as a whole. Here you should be using the SSL's parametric EQ primarily to cut masking frequencies, and the its heavy VCA compressors and gates to beat your mix into submission, until all parts play nice together.

[El°HYM]

How do you handle the exponential introduced Aliasing caused by stacking up such an amount of non - linear working plugins?