MUFF WIGGLER Forum Index
 FAQ & Terms of UseFAQ & Terms Of Use   Wiggler RadioMW Radio   Muff Wiggler TwitterTwitter   Support the site @ PatreonPatreon 
 SearchSearch   RegisterSign up   Log inLog in 
WIGGLING 'LITE' IN GUEST MODE

Secret weapon processing (plugins/hardware)
MUFF WIGGLER Forum Index -> Production Techniques Goto page 1, 2, 3  Next [all]
Author Secret weapon processing (plugins/hardware)
BailyDread
Hi everyone! Pretty simple topic here... What are some techniques/equipment/plugins you use to get "your sound"? Don't give it all away! Miley Cyrus

For me:
FMR ARC - great DI with some kind of compression/eq thing going on (ARC stands for "articulation resonance clarity"); cuts the bass slightly and adds a thin layer of gated white noise that can really help to make an element have more presence without obscuring other high freq elements

brainworx Vertigo VSM-3 - ultra flexible saturation with extensive mid/side options. this can totally change the tonality of a sound, and with careful processing before and after can bring a crazy "3D" quality to the saturation that still somehow sounds clean

airwindows iron oxide 5 - a lot of airwindows stuff is quite tricky to use since they're so flexible and the parameters aren't constricted (kind of like what I've heard about Mungo modules), but iron oxide 5 is a terrific saturation/tape emulation plug with a few tricks up its sleeve. setting the "low speed" to 5 ips gives a fantastic bass bump somewhat similiar to the UAD Helios low pass set at 50 hz. perfect for kicks and bass. it's also free like the rest of the airwindows (but chuck the guy a few bones on patreon ffs meh )

Waves Abbey Road Reel ADT - tape doubletracking effect. great for adding a natural chorus or upmixing a mono signal to stereo via the "fake stereo" setting

anyway, excited to see some other suggestions applause cool
Dilibob
Recently I have been recording and mixing with 5.1 calibrated monitor setup (pretty much not using the center channel), then only folding down to stereo as needed. Anything coming out of my modular is now recorded in quad, before I pretty much recorded in mono(technically I always recorded in stereo and have 16 lines coming in, but 90% of the time I noticed I was only mixing in one mono track from the recording to the actual mix). Time will tell if this works out, was a major updated to my workflow, so getting use to it, but so far I am finding the process "funner" which normally for me helps me focus and get in the zone (given my fragmented schedule lately, the fun factor and focus is probably more important then anything).
bhinton
Zebrify.
Michael O.
Without getting too specific (got to keep up the mystique, after all), people might be surprised by how often and how dramatically entire arrangements are sped up/slowed down/pitch-shifted/time-shifted after the fact. Can change the entire subjective feel of a tune in an instant. I’ve been (over)using a once-ubiquitous film/tv sound processor to good effect lately...
noisejockey
Besides character preamps outboard, I have an unreasonable love for the ugly and brutal DevilLoc Deluxe by SoundToys. I never imagined I'd use as much as I do. The key is parallel mixing of its effect, but it's a harmonic enhancer, distortion box, compressor, even a tilt EQ. I certainly don't put it on everything, but I am constantly surprised what it sounds great on when used subtly. (And it's of course epic wide open on drums.)

ValhallaDSP Vintage Room on like 5% wet can be great glue for a track, especially if the HPF is set right.

The Pentode distortion emulation on the Cranesong HEDD AD/DA converter is also pretty magic. Triode is trashy and Tube Saturation is mushy, but the Pentode really adds a brightening and then a real hair, based on the level.

Just saw the live sound engineer Dave Rat loves overdriving the input stage of the Lexicon PCM60, haven't tried that.
anomie
Lots of reamping, or recording synths through a mic'd amp instead of direct. Of course it's more trouble to set up, but bass in particular sits better in the mix.

And if I'm not amping, I'll often run stuff (including drums) through a tube preamp that lets me control the amount of negative feedback (and thus THD) imparted to the signal, or use overdrive as a compression effect.
BailyDread
anomie wrote:
Lots of reamping, or recording synths through a mic'd amp instead of direct. Of course it's more trouble to set up, but bass in particular sits better in the mix.

And if I'm not amping, I'll often run stuff (including drums) through a tube preamp that lets me control the amount of negative feedback (and thus THD) imparted to the signal, or use overdrive as a compression effect.


are you doing this with one of those chandler pres? always wondered how that sounded...
Michael O.
noisejockey wrote:

Just saw the live sound engineer Dave Rat loves overdriving the input stage of the Lexicon PCM60, haven't tried that.


Interesting, I usually find this ends up sounding kind of harsh, and not necessarily in a euphoric way. Will have to try it again with an open mind. Unfortunately there’s no way to run a signal through the unit’s analog bits dry; bypass just directly links the input to the outputs. The pcm42 definitely sounds pretty gnarly but usable when overdriven, there’s a sort of comp/exp thing going on with it that’s different than most digital delay lines’.
naturligfunktion
H-Delay. That plugin is ill AF.

Otherwise I think it's really nice to route things through other things. Like if you have a drummachine. Record it through an amplifier. Etc.
anomie
BailyDread wrote:
anomie wrote:
I'll often run stuff (including drums) through a tube preamp that lets me control the amount of negative feedback (and thus THD) imparted to the signal


are you doing this with one of those chandler pres? always wondered how that sounded...


I'm doing it with the Requisite Y7, which is pretty much the same mic pre as in the PAL, but the principle is the same - less feedback means more distortion, a little bite on the high end, and a little natural tube compression. It doesn't work on everything, but when it does, it'll make a bassline sit just right in a busy mix.
3pand
You might be interested in some Acustica Audio plugins, they have a unique tech that deconvolves hardware and nothing sounds quite like it to my ears. If you pick up Nebula 4, you can grab a huge free library of preamps, mics, etc for coloration (let me know if you'd like the link). Also, the acqua plugins are great, Taupe comes to mind if you're going for vibe.

They have free trials so I'd be curious what others think after giving it a try! I'm curious to try the trick mentioned above with time/pitch shifting entire trqcks, thanks!
BailyDread
I've never tried them but I've heard especially good things about Tim P's Nebula libraries... Can you vouch for them?
DT
Sinevibes Fraction
SB-SIX
I've got some amazing results with toneboosters plugs. Barricade 4 is my favorite limiter (prefer it above fabfilter Pro-R and Ozone's limiter). The buscompressor is my most used compressor, and I love the ReelBus as a warm tape saturator and/or delay. They cost very little but sound even better than most expensive ones imho.
BenA718
Try mic’ing your synths instead of DI, especially drum machines.
depth of field
SB-SIX wrote:
I've got some amazing results with toneboosters plugs. Barricade 4 is my favorite limiter (prefer it above fabfilter Pro-R and Ozone's limiter). The buscompressor is my most used compressor, and I love the ReelBus as a warm tape saturator and/or delay. They cost very little but sound even better than most expensive ones imho.


I concur. I bought the Toneboosters v3 pack because it was so cheap and really liked how things sounded. Their reverb is good and I like to use that on percussion.
drowld
BenA718 wrote:
Try mic’ing your synths instead of DI, especially drum machines.


But then you need amps, monitors etc ? And the mic to fit them
3pand
BailyDread wrote:
I've never tried them but I've heard especially good things about Tim P's Nebula libraries... Can you vouch for them?


I haven't tried those yet, but I have seen the buzz online about them. Should probably dive in sooner rather than later but I don't like having too many options at my disposal haha.

You might be able to find someone on a forum to run audio through a TimP library for you. Or of course the Acqua plugins can be demo'd for 30 days twice each!
slumberjack
BailyDread wrote:

FMR ARC


nice one.

i'm using a chain of aphex aural exiter > ehx cathedral > joemeek mc2 due to no better option or cash around and i'm surprised of the results.
BenA718
drowld wrote:
BenA718 wrote:
Try mic’ing your synths instead of DI, especially drum machines.


But then you need amps, monitors etc ? And the mic to fit them

Yup.
3pand
Wow I never thought the day would come where I would reply to a thread like this with only software ideas. Just to balance it out and also can't believe I forgot: Sherman Filterbank 2 used subtly (ignore youtube for this amazing box!) really adds beautiful harmonics and all sorts of layers via the mix knob.

The Sherman is so alive that I've found when trying to recreate patches on it that even the order in which you turn knobs will lead to different results haha.
Chevron87
Dynamic delay!
drox
Permut8

https://www.youtube.com/watch?v=Y4TScdIaLgY
Soy Sos
I second Devil Lok Deluxe.
Its my go to for parallel distortion for bass
and tuned 808 bass lines.
So many tricks to name. I'll pop back in with more later.
Mantaray
Eventide DSP7000
MUFF WIGGLER Forum Index -> Production Techniques Goto page 1, 2, 3  Next [all]
Page 1 of 3
Powered by phpBB © phpBB Group