The song is a cover version of Todd Rundgren's "Love Is The Answer". New project - an early mix from a song on Terry's album - no keeper lead vocals yet, the lead vocal that is there is strictly a cue track so that I could set up a mix using a scratch vocal as a reference, so I wouldn't "walk" on the eventual keeper lead vocal track and I'm also waiting on a soprano sax part that is being recorded by a friend of ours at a his studio, hopefully today. Oh, and thanks for listening to the song by the way. This used to be one of my favorite compressors, because it handled gain reduction in such a smooth and musical way, and now I can get the exact same response out of a plug processor? It was definitely one of those "Holy ***t! moments for me. My latest knockdown moment came when I heard a plug version of the Focusrite Red Opto Compressor. They can put incredible acoustic spaces into a box ( Bricasti), they can provide pitch correction ( Melodyne and Elastic Audio), and, not only model the EQ and dynamics of a classic channel strip, but can also model the harmonic distortion that occurs when those real pre amps and channel strips were pushed. I used to be a real nay-sayer with most of them.īut when I heard both the Waves and T-Racks Neve 73 and 81 strips actually modelling the gain and harmonic edge of the signal, just like the real Neve modules did, that was kind of a head blast for me. I'm a bit knocked out these days by some of these plugs. I find the fact that you can do the same with high quality plugs to be amazing, that they've come so far with modeling that this can occur. When I was first starting out, late 70's/early 80's, I remember my instructor showing me that by simply inserting an LA2 into a track or bus, how you could pick up the nuances of the it, and that it wasn't uncommon for engineers to actually do this, without doing anything with the gain - just by putting signal through it at unity, you could pick up pleasing nuances. I'd insert a processor onto a track or bus, and immediately hear phase and tonal problems. I've also experienced it going the other way, back when I was using cheap plugs. The virtual circuitry comes into play, my personal access is to the Neve 88RS that came with my UAD plugins. One thing I have personally found, even just putting one in the channel does change the sound, no setting as such done. Makzimia, post: 424912, member: 48344 wrote: An interesting thing happens with these modeled consoles. Written by me, I also did backing vox, guitars, bass, drums.ĭonnythompson/i-still-see-you_jan-28-2015-mix-trident-2-bus-with-fade here's a mix with the VCC Trident on the 2-bus. The other remaining choice was the RCA Tube Console setting, and it was just too "thick" and lacked "silk" in the highs.Īnyway. I really like the API setting for tracks like guitars and kick/snare, it seems to make things "pop" more than the other settings, but on this, it "popped" a little too much LOL for what I wanted to hear. The SSL had a nicer definition on the lower end, but lacked punch in the mids. The Neve was almost too warm, rounding out the bottom end to where it sounded a bit too thick. I suppose I could have thickened it up if I had driven it harder, but this setting sounded the best, to me anyway. It seemed to give me the nicest balance of overall warmth and clarity. Surprisingly, I ended up choosing the Trident setting, with input levels set at +3 and the Drive setting at +2. As an offshoot of the current thread about the Slate VCC collection, I thought I'd experiment a bit and post a mix I did recently, using the Slate VCC on the 2-bus.