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Funny as it is, the BIGGEST technical problem pros and hobbyists alike face is not WHAT to use - quality is hardly a factor anymore - but "what to NOT use" and "when good becomes abusive".JeffSanders wrote:The thing is, and it's purely subjective: when's it analog enough flavor? I use mostly tube mics and transformer/tube pre's and there's plenty of vibe going in. Yet, I'm always experimenting with adding more character.
My opinion, exactly.Tp3 wrote:Funny as it is, the BIGGEST technical problem pros and hobbyists alike face is not WHAT to use - quality is hardly a factor anymore - but "what to NOT use" and "when good becomes abusive".
...and not only youkobal wrote:thats a reason why i like hardware and like more to save for it insteed of spending money in plugins like i did in the paste, no need to look if they are betetr tools for the job you can juts focus on music
I have NO IDEA as I was NEVER involved in a process in which analog gear was concerned... but I CAN ASSURE youJeffSanders wrote:I guess the question is how subtle those stages were compared with the "wow factor" people expect to hear from a plugin.
JeffSanders wrote:Then add to the fact they were recorded to tape as well. So every stage had the potential to "sand down" the performances
So I went straight to the "instant assistant" (my god, does this thread enhance my rhyming abilities or whatMWSOS wrote:As with all level-dependent effects, you ideally need to adjust the plug-in's input level, using
the associated meter, until you get 'into the zone', so an input-level control would have been helpful, and you
do need to put in some effort before the controls make sense, but I was well pleased with the results I
achieved
Like using sandpaper on a piece of wood. Or sand-blasting metal. It can remove imperfections that might add charm or flavor. Dulling or homogenizing the end result. Or it can enhance them.Tp3 wrote:JeffSanders wrote:Then add to the fact they were recorded to tape as well. So every stage had the potential to "sand down" the performances
As I'm not familiar with the term "sand down", so I'll guess (is it something to do with your surname ?)
Subtlety is nice to have, but how does it translate to the real world. The answer is, quite differently. The hardware used to listen to the music, the listening environment and the perceptions of the listener inevitably mean that what you hear in the audio production process is not what is going to be heard "out there." Which means that the nuances, no matter how obvious to you, may be non-existent to listeners. The attention to detail is nice, but it's really more for you, not them.JeffSanders wrote:Excellent posts, guys. I appreciate what you've taken the time to write. Spot on.
The songs I'm working on at the moment are very sparse. So far, no drums or keyboards (no samples). And the sounds I'm getting on the way in are going through a pretty sweet chain, for low end. (vocal through a Rode NTK and a GAP Pre-73 Neve clone with dual transformers, for instance) I can hear that depth and authority straight away. And I'm only using plugs that will shine a magnifying glass on that. Not sand it down.
But when you think about it, these "magnifying glasses" so many legendary producers used on classic albums typically contained more stages of tubes and transformers. I guess the question is how subtle those stages were compared with the "wow factor" people expect to hear from a plugin.
Then add to the fact they were recorded to tape as well. So every stage had the potential to "sand down" the performances...then again, when a performance is magic, it moves people no matter what.
Reminds me of those concerts with a number of famous guitarists playing together. Concept seems good, but the results are audio mud.JeffSanders wrote:Hell no...not a big fan of subtlety. I'm pushing the transformers on this preamp, and there are some very pleasing (and not subtle) harmonics flying off of it. Just questioning where this "harmonics on top of harmonics" becomes less electric and more just mud. The point where this exciting level of harmonic enhancement starts to fall away.
Back to Redline Preamp. I guess what I'm hearing through my recording chain is what Redline Preamp is trying to emulate for signals that don't have it to begin with.
Meh. Didn't get enough sleep last night.
I would even go a little higherK-Slash wrote:Also make sure that you have a "hot" input level before hitting the plugin. I usually start with a signal that peaks at -4dBFS
Could you show me a short sample or two of what to expect from it?Tp3 wrote:The difference between "hot" signal and "not so hot" signal is exactly what makes people not hear anything...
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