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Secret weapon processing (plugins/hardware)
MUFF WIGGLER Forum Index -> Production Techniques  
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
Dilibob
Modular quad channel -> ufx+ -> protools highend 5.1 reverb.
criticalmonkey
waves brauer motion - surprised how many uses i find for this when i bought just as a panning candy toy
infinitemachinery
I'm really into lush reverbs and nothing does it for my like the Valhalla suite of plugins. Also the UAD Lexicon 224 is just wonderful.
xenosapien
I got myself a small 500-Series Lunchbox and a couple of Preamps/Color Modules (the DIYRE stuff).

Great for running my synths and electric bass through a small selection of different preamps (pick ones that allow the line input to pass through the same circuitry as the mic input!!) and the DIYRE Color Palette things are just great for adding analog saturation/distortion without breaking the bank.

on the software side, I picked up the Soundtoys 5 bundle a year or two back and have pretty much stopped using anything else (except some NI bus compressors and EQs that I got with Komplete...).

Decapitator, EchoBoy, Devil-Loc are some of my favorites. The new "Little Plate" is a nice quick-and-dirty plate reverb.
Plattform
Michael O. wrote:
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...


Yes I'm with you on that !

I do it also when I listened to a track too much, I loop some section I like and slow it down. You can re-discover a lot of things like this and it's quite hypnotic and addictive !
synthpriest
To the above post, that Lexicon weights a ton. hihi
wickfut
Oaksound Soothe - amazing VST which removes all the little nasty resonances from your track.

Grainspace - Granular reverb which does clouds better than clouds does.
BailyDread
xenosapien wrote:
I got myself a small 500-Series Lunchbox and a couple of Preamps/Color Modules (the DIYRE stuff).

Great for running my synths and electric bass through a small selection of different preamps (pick ones that allow the line input to pass through the same circuitry as the mic input!!) and the DIYRE Color Palette things are just great for adding analog saturation/distortion without breaking the bank.



please post a pic of this! this is something many fantasize about and I'm sure its a great idea!!

new addition for me: RNDI... this thing sounds INCREDIBLE. I can't even begin to express how fantastic it is. it's a DI, so it's just meant to take an unbalanced signal and turn it into a balanced one, but feeding it the hot signals straight out of the VCAs of my eurorack setup does some kind of crazy magic. depending on how hard I hit it, it goes from smooth and buttery clear to this kind of beautiful tape/tube saturation that is never ever harsh. it seems to eat up the transients like a champ as well as doing some kind of high freq and low freq roll off with a nice bump at either end. like a disco smile, but and "m" if that makes any sense... lol!

I can not recommend good DI's enough..... the Jensen Radial DI is also sensational, and considerably faster with transients than the RNDI. this makes it absolutely killer for drums and snappy lead lines. it also sounds a bit brighter to my ears.

I love talking shop applause
Michael O.
synthpriest wrote:
To the above post, that Lexicon weights a ton. hihi


It weighs about as much as a late ‘80s pc, because I think that is essentially what it is lol.

And +1 to those talking about quality DI’s. It’s amazing how near to a mix-ready sound you can get by sending some bass guitar/synth/drum machine through a good old transformer (like Triad, UTC, Peerless, etc.) into a quality mic pre. But then again maybe quality passive DI hasn’t really been a secret since Motown, lol.
Jarvus
Actually find running non modular sounds, like a polysynth or acoustic instruments etc, into the modular and using its filters env vcas to shape the sound really works for me. Subtle amounts of colour added here and there.
xenosapien
BailyDread wrote:
xenosapien wrote:
I got myself a small 500-Series Lunchbox and a couple of Preamps/Color Modules (the DIYRE stuff).

Great for running my synths and electric bass through a small selection of different preamps (pick ones that allow the line input to pass through the same circuitry as the mic input!!) and the DIYRE Color Palette things are just great for adding analog saturation/distortion without breaking the bank.



please post a pic of this! this is something many fantasize about and I'm sure its a great idea!!


you don´t have to ask that twice haha, here you go:


the 500 series modules are all hooked up to the patchbay as you can see, but mostly normalled to the MOTUs ins/outs.
the lexicon is hooked up via S/PDIF to the MOTU ultralite, which is mounted in a DIY'ed rackmount next to a FMR RNLA (just to fill the space heh).

those silver Bart HRK modules each hold 2 "COLORS", currently I am using "British Console" and "Soviet Pentode" each in those.

the DIYRE CP5 is loaded with a "Discrete Saturation" COLOR, usually I record shakers etc. through that.
Scories
BailyDread wrote:
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


I'm curious about this one. I know it's useful for enhancing the Even playing of a guitare. But would you also use it to run an entire mix through it, or to process a spécific instrument that needs to stand out? Like a post-production tool....


Speaking of ARC, has anyone tried Ik Multimedia ARC System 2.5 - Advanced Room Correction? Seems like great tool for mixing with more accuracy.
ThePatheticNoob
Hi all, first post here.

TAL Reverb III
kinkycables
Feedback and/or blend loops...
Parallel chains with completely unsubtle FX - Black Death Noise Synth, RM-1n reverb, fabtone....
balbibou
Sonimus Britson/Satson console emulations
101010oxo
u-he Satin thumbs up
JediDJ
Acustica Acqua, Nebula
Soy Sos
Might I suggest a way to make this thread a little more interesting?
Say a little something about what you like about this particular device/plug/technique and how you use it.
Scories
Soy Sos wrote:
Might I suggest a way to make this thread a little more interesting?
Say a little something about what you like about this particular device/plug/technique and how you use it.


indeed
Jerome
Analog Heat: deep, versatile, precise, agile, enhance, destroy,...
Valhalla plugins: inexpensive, easy, huge, fast, immense,...
Eventide Space: musical, infinite, well everybody knows...
Korg SDD3K preamp: stunning with everything you'll plug into
AEA R84 ribbon mic: silky, warm, real, and solid
needto
Soundtoys Echoboy with 0 delay for tape saturation.

The free TAL-Chorus-LX - Juno chorus emulation, for any monosynths that need to be wide and massive.
JediDJ
Nebula/Acqua - simply the best analog sounding algorithms at PC/MAC.
Sounds better than UAD, and very close to a legendary hardware.
skunk_hour
needto wrote:
Soundtoys Echoboy with 0 delay for tape saturation.

The free TAL-Chorus-LX - Juno chorus emulation, for any monosynths that need to be wide and massive.


This, for sure! Echoboy + very slight delay also makes for a great, versatile chorus effect.
Plumbstone
Plugin Boutique's Stereo Savage plug in is fantastic for getting some seriously controllable stereo image from a mono input. ie: most eurorack.

I also use Eowave's Fluctuation Magnetiques 4 MM filters to do a similar thing otb.

Been running alot of individual channels through a Ridge Farm Gas Cooker - a valve DI box which just adds a beautiful amount of dirt and valve goodness to pretty much anything you throw at it. Yum.
blinosynth
Michael O. wrote:
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...

i am going to get my power supply tomorrow for my nagra
cannot wait for try to slow down loops
i've already octrack and i use it for the same porpouse
rytm mk 's filter and fx are amazing even if is it a drum machine i use for down pitch samples ... sounds lusch
akai s1100 is undescovered weapon , i need time to use it!!!!!!!
pkkkkknn
Good old (discontinued) Camelspace / Camelphat for mangling sounds completely unrecognizable.

Also Waves Abbey Road Plates and Apex Aural Exciter, these both have insane amounts of character.
apestate
Kilohearts bundle in combination with Ableton effects = extreme control of timbre.
slumberjack
for mixing in the daw i'd be interested for a nice panning solution where i can fine tune the adjustments of a mono track to sit. also some l/r modulation aka ping-pong would be nice to have.
locust_locust
I have one of these:

slumberjack
locust_locust wrote:
I have one of these:


that's a nice piece of gear which drives my gas instantly but i'm looking for individual settings on a single channel before the mixdown. i'm very unhappy with the pan 'knob' in my daw.
xenosapien
you could start by telling us which DAW you use.

"my" DAW (reaper) for example has several panning law modes I can switch between.
so there´s less potential for unhappiness there... maybe your DAW offers this as well?
slumberjack
xenosapien wrote:
you could start by telling us which DAW you use.

"my" DAW (reaper) for example has several panning law modes I can switch between.
so there´s less potential for unhappiness there... maybe your DAW offers this as well?


please tell me more, we're using the same application. if find the pan knob horibble compared to the one in live and never found an autopan function either.
BailyDread
locust_locust wrote:
I have one of these:



when this came out i was really stoked on it. out of my price range tho.

could you please let us know some of the ways you use it? i really liked the fact that it has an adjustable high pass and a low shelf that are very interactive. you can cut @ 50 hz and boost at 30 hz simultaneously or something, right? like a pultec style. seems like it would be very cool for sculpting the bottom end.
xenosapien
slumberjack wrote:
xenosapien wrote:
you could start by telling us which DAW you use.

"my" DAW (reaper) for example has several panning law modes I can switch between.
so there´s less potential for unhappiness there... maybe your DAW offers this as well?


please tell me more, we're using the same application. if find the pan knob horibble compared to the one in live and never found an autopan function either.


I´m not at home right now, but check in the settings, probably something like (from memory now/referencing an old manual):

File->Project Setting->Advanced->Pan law/mode

I honestly do not know how and what the precise differences are or how they work, but it does make a difference between 2 or 3 of these.

I remember liking the default the most, actually - seems to be a matter of taste, but then again I´ve never used Ableton so I wouldn´t know if that one is better.

"Autopan" is an effect and therefore you won´t see an "option" for it.

There IS a "JSFX" plugin for autopan though, just select "all plugins" and search for 'Pan' or 'autopan' there.

Other than that, I simply automate my panning...
Soy Sos
I don't understand how someone could be: "very unhappy with the pan 'knob' in my daw"
I've worked on consoles and DAWs (Performer and now Ableton) for many years and have never even thought about there being a problem. Performer has a trim plug-in that allows for level and panning of the left and right side of a stereo channel and Ableton now has a right click option that changes the pan knob to a left and right panning set. (if that makes sense)

But on to other fun things!
Another method I have been using heavily in mixing with Ableton is parallel processing with effects racks. I'll create multiple versions of effects chains and mix to taste. An example would be a subby low passed chain and a buzzy distorted high passed version of the bass line. Then for example I can sneak in the buzzy version to taste or automate it to bring more aggression to certain moments in the track. I could also side chain the subby side with the kick drum a little I'd I want to make more space for the low end of the mix.
xenosapien
Soy Sos

It wasn´t until after he posted that I started reading up about different panning laws in Reaper (and other DAWs) and apparently, there are some "right" and "less right" ways to handle panning..

-> especially stereo "Pan" aka balance...

what seems to happen is that in some cases, the center position would actually cause the whole track gain to increase by 3dB or something if it was mono material in a stereo track (in Reaper) *

seems to be a digital era issue and I can see why it would be one for some people... I don´t really care THAT much either, to be honest.

My golden rule is always "if it sounds good, I don´t care how it was made."



* careful: this "info" was obtained after reading forums for 20mins in my lunchbreak today. might be full of horseshit! wink
slumberjack
xenosapien wrote:
slumberjack wrote:
xenosapien wrote:
you could start by telling us which DAW you use.

"my" DAW (reaper) for example has several panning law modes I can switch between.
so there´s less potential for unhappiness there... maybe your DAW offers this as well?


please tell me more, we're using the same application. if find the pan knob horibble compared to the one in live and never found an autopan function either.


I´m not at home right now, but check in the settings, probably something like (from memory now/referencing an old manual):

File->Project Setting->Advanced->Pan law/mode

I honestly do not know how and what the precise differences are or how they work, but it does make a difference between 2 or 3 of these.

I remember liking the default the most, actually - seems to be a matter of taste, but then again I´ve never used Ableton so I wouldn´t know if that one is better.

"Autopan" is an effect and therefore you won´t see an "option" for it.

There IS a "JSFX" plugin for autopan though, just select "all plugins" and search for 'Pan' or 'autopan' there.

Other than that, I simply automate my panning...


thx for the hint, i've been lazy with rtfm lately.
xenosapien
slumberjack wrote:
thx for the hint, i've been lazy with rtfm lately.


no worries - I have a job with a bit of downtime in between customers, so I often get to RTFM at work wink
slumberjack
xenosapien wrote:
slumberjack wrote:
thx for the hint, i've been lazy with rtfm lately.


no worries - I have a job with a bit of downtime in between customers, so I often get to RTFM at work wink


lucky you! w00t
foolprint
bbe sonic maximizer 482i
calaveras
Overdriving the crap out of the Deltalabs Effectron. You can use the compressed signal by itself, or blend in the delay/flange.
Littlelabs VOG is epic good on everything. I have to stop myself sometimes.
Also a huge fan of mid side recording guitar, drums and piano. Then meddling with the phase and time domain relationship of the mid and side channels. I've gotten some insane sounds this way before. Like the drums are imploding or like the guitar is rushing in from the corners of the room.

I used to use an old 6x2 transformer based mixer that I modded with 6xtransformer coupled direct outs. Gave my synths and stuff more solid bottom end.
acidbob
http://the-akaizer-project.blogspot.com/
calaveras
acidbob wrote:
http://the-akaizer-project.blogspot.com/

Cool I’ll have to check that out!
felixer
xenosapien wrote:

seems to be a digital era issue

not at all. it applies to analogmixers too. it's just that you don't have any options to change 'm so you work with what you got. adjusting levels as you go ... and usually you know from the beginning what is going to be stereo and what not. THINK BEFORE YOU MIX !
Scories
acidbob wrote:
http://the-akaizer-project.blogspot.com/


Is there a cheap vst plug-in that can do clean timestretching ?
felixer
Scories wrote:
acidbob wrote:
http://the-akaizer-project.blogspot.com/


Is there a cheap vst plug-in that can do clean timestretching ?

there is a decent timestretch in reaper ... it struggles with sharp attacks if you overdo it, but otherwise it's fine
3hands
Allen&Heath system 8 console. Because dat EQ doe.
acidbob
Scories wrote:
acidbob wrote:
http://the-akaizer-project.blogspot.com/


Is there a cheap vst plug-in that can do clean timestretching ?


Yes, I would say FL Studio can do that out of the box.

Otherwise maybe this will do:
https://tal-software.com/products/tal-sampler
CosmicFlight
Elysia HW stuff here
dubonaire
I recently got the Waves Scheps Omni Channel and it's basically the only thing I use now, FX aside. How do I use it? Either direct on a channel or parallel processing and more often than not I just find an appropriate preset, and then maybe tweak that a bit. It's very cleverly designed for someone like me who is not an expert. It is easy to do mid/side processing and there is a focus button which highlights the key controls for particular presets. So the Omni Channel is helping me learn as well.

I find Klanghelm MJUC to be really good for me on the drum bus but at the moment I'm preferring using the Omni Channel.

Around the same time I picked up Echoboy and it does have the mojo everyone raves about.
Futuresound
I'll have to check the Waves Scheps out. I've been eying the Sonimus Satson channel strip, but the Waves does seem a bit more flexible.
xenosapien
dubonaire wrote:
I recently got the Waves Scheps Omni Channel and it's basically the only thing I use now, FX aside. How do I use it? Either direct on a channel or parallel processing and more often than not I just find an appropriate preset, and then maybe tweak that a bit. It's very cleverly designed for someone like me who is not an expert. It is easy to do mid/side processing and there is a focus button which highlights the key controls for particular presets. So the Omni Channel is helping me learn as well.

I find Klanghelm MJUC to be really good for me on the drum bus but at the moment I'm preferring using the Omni Channel.

Around the same time I picked up Echoboy and it does have the mojo everyone raves about.


good call - the Scheps OC is the last (and first in a while) VST I bought, and it immediately got used on every track.

it does a bit 'better' on traditional recorded material than synthetics I feel, but maybe it´s just more noticeable on that.

but maaaan those dual de-essers are a live saver for annoying cymbal ring etc. - and the saturation and comp are just easy to use and pretty much always sound good to me.
dubonaire
xenosapien wrote:
it does a bit 'better' on traditional recorded material than synthetics I feel, but maybe it´s just more noticeable on that.


Probably true and that's probably a lot to do with its designer, but I'm gradually finding good settings for synthetics, although I'm beginning to think synthetics need less treatment anyway. Another thing I'm going through at the moment is spending more time getting the source right and less focus on the processing. Actually I think the Omni Channel is helping me be a bit more subtle.

And yes I find the saturation actually works like saturation and not an exaggerated effect and the choice of harmonics is really useful.
BailyDread
lately i've been having a lot of success with putting saturation before reverb on aux sends. usually ill use the UAD culture vulture plugin and dial in a really nasty sounding distortion, but then put a plate emulation after. once you get the gain stages all set up nicely it really gives a more dynamic feel to the verb -- rather than spikes in volume feeding splashes of verb, the peaks correspond to increase in saturation that then feeds the verb with more high freq source material.

try it out, i almost never use plate or spring verbs without it now
Soy Sos
Yes to that! Saturation, EQ, high + low pass filtering (modulated), compression in different order before reverb is so good!
Johnisfaster
Jarvus wrote:
Actually find running non modular sounds, like a polysynth or acoustic instruments etc, into the modular and using its filters env vcas to shape the sound really works for me. Subtle amounts of colour added here and there.


Lately my favorite thing to do is run anything through my euro rigs vca's. It's amazing how interesting simple things get when volume of synth sounds aren't tied to note on off.
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