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Adding more color to my mix buss
Old 28th December 2019
  #1
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Adding more color to my mix buss

I make electronic music with a lot of lo-fi elements, noise and hiss and because of the type of music I make I tend to push the coloring more than you would on most mixes. Since I'm mostly ITB, I'm always looking for ways to experiment and add more analog coloring to my mix bus chain.

My current chain is:

B32 > SSL Fusion (AudioScape Buss Comp inserted)

I really like this setup, but the Fusion is a pretty subtle box and I want to add more color. I love the 1073 sound and I also use the Tape plugin on the mix when I print back into my DAW, so I want to see if I can add these characteristics to my outboard chain.

Because of space reasons, I'm mainly looking at 500 series modules. Here's where I'm at...

I want to add pre-amps right after the B32 and I'm considering the Avedis Audio MA5, Burl B1D or the LTL Chroma with Royal Blue Colour Module. I've read great things about the MA5 and B1D, but the Chroma sounds like it's something special. Basically a Silver Bullet in 500 form. What would give me the most coloring?

For the "tape" portion, I'm thinking the RND 542 or the Overstayer MAS (I have 1u space left in my rack), or maybe even both? From the examples I've heard, I love what they both do. Would both be overkill, or can I add unique flavors with each?

Finally, there's the Standard Audio Stretch. I like this for its ability, according to the site, to add depth to a mix. Anyone use these on there mix?

With these additions, my chain would look something like this:

B32 > Pre-amps > SSL Fusion (AudioScape Buss Comp inserted) > 542 > MAS

Would love input on what would be best to add.
Old 28th December 2019
  #2
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Will The Weirdo's Avatar
In 500 series I would suggest you look start with the Bart HRK, DYIRE, and LTL colour series. So many cool yet cheap color options from all 3 and they are all interchangeable card options. Using the 4 slot Bart 544's you can have combinations that suit different needs, LTL and Bart have cool other 2 and 3 card options with blend. Bart recently released SSL cards, DYIRE has their new series II options and LTL has those killer filter and Neve options.

If these don't fit your needs you'll start spending real money, but the Chandler 500 options and RND 500 options are colorful.
Old 29th December 2019
  #3
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Quote:
Originally Posted by Will The Weirdo View Post
In 500 series I would suggest you look start with the Bart HRK, DYIRE, and LTL colour series. So many cool yet cheap color options from all 3 and they are all interchangeable card options. Using the 4 slot Bart 544's you can have combinations that suit different needs, LTL and Bart have cool other 2 and 3 card options with blend. Bart recently released SSL cards, DYIRE has their new series II options and LTL has those killer filter and Neve options.

If these don't fit your needs you'll start spending real money, but the Chandler 500 options and RND 500 options are colorful.
Thanks, wasn't aware of Bart, will check them out.

Anyone else?
Old 29th December 2019
  #4
Gear Addict
Hi.
Have no experience on mentioned 500 series modules but I have a MAS and it's a serious color box. I've been using it both tracking and mixing...For my purposes I thought Fusion (which I also have) and MAS together is a little bit too much so after getting Fusion I started to use MAS elsewhere but I'm quite sure you would find it useful in your situation.
Also...You only need things for 2bus or do you also track real synths and such?
if you do, I'd suggest you check out Standard Audio Level-or's. Serious color (cool lofi, dist, pump and hiss). Sure not suitable for 2bus but maybe elsewhere?

-- M
Old 29th December 2019
  #5
Lives for gear
I know this is high end and you’re discussing your hardware chain.. but, if you have the processing muscle, give IK tapes a spin either before you go out to your HW chain or once you capture it. Definitely an example where to me the difference between HW and SW is meaningless (unlike the black box for example where the plugin didn’t totally do it for me)

I’d also consider spreading the mix through 8+ HW channels of saturation - like LTL chroma, rather than trying to reach the promised saturated land simply over the final stereo print
Old 29th December 2019
  #6
Gear Nut
 

I have a couple RND 542’s on my mix bus. I love what they do, but they can be very heavy handed at times. Mine are set very low and still making a decent impact on the sound, mostly by fattening the low end, but also doing nice things to the highs and mids that are not easy to describe. The 542’s can, at times, seem somewhat transparent until you bypass them, so don’t expect a ton of dirt, unless you’re cranking the Red Silk, but even then it’s not culture vulture territory.

Through the time I’ve had them I find myself dialing them back for a cleaner sound more and more, so I’m hearing them less, but I still like what they do.

Running your mixes through preamps is a great idea, if you go that route check out the Avedis Line Pad-Z, it’s designed specifically for this purpose, correcting the impedance as well as padding the signal down for line level into a mic amp. Sounds better in this application than other pads I’ve used.

Last edited by PeterLarkin; 31st December 2019 at 03:24 PM..
Old 29th December 2019
  #7
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Quote:
Originally Posted by mherrane View Post
Hi.
Have no experience on mentioned 500 series modules but I have a MAS and it's a serious color box. I've been using it both tracking and mixing...For my purposes I thought Fusion (which I also have) and MAS together is a little bit too much so after getting Fusion I started to use MAS elsewhere but I'm quite sure you would find it useful in your situation.
Thanks. Does sound like it could be a nice combo for me. Can MAS be applied in sublet ways, and would you recommend it coming after or before the Fusion?

Quote:
Originally Posted by mherrane View Post
Also...You only need things for 2bus or do you also track real synths and such?
if you do, I'd suggest you check out Standard Audio Level-or's. Serious color (cool lofi, dist, pump and hiss). Sure not suitable for 2bus but maybe elsewhere?
I've been reading up on the Level-or, but all my synths are plugins. I start ITB. I was thinking of running each track out to my gear, but not sure I want to convert that many times.
Old 29th December 2019
  #8
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Quote:
Originally Posted by fredouli View Post
I know this is high end and you’re discussing your hardware chain.. but, if you have the processing muscle, give IK tapes a spin either before you go out to your HW chain or once you capture it. Definitely an example where to me the difference between HW and SW is meaningless (unlike the black box for example where the plugin didn’t totally do it for me)
Read good things about IK Tapes. Going to give it a try. Right now I use Softube Tape.

Quote:
Originally Posted by fredouli View Post
I’d also consider spreading the mix through 8+ HW channels of saturation - like LTL chroma, rather than trying to reach the promised saturated land simply over the final stereo print
I have considered that, but that would mean that I'd having to run everything through my converter a few times. Not sure what that does to the quality of signal.
Old 29th December 2019
  #9
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Quote:
Originally Posted by PeterLarkin View Post
I have a couple RND 542’s on my mix bus. I love what they do, but they can be very heavy handed at times. Mine are set very low and still making a decent impact on the sound, mostly by fattening the low end, but also doing nice things to the highs and mids that are not easy to describe. The 542’s can, at times, seem somewhat transparent until you bypass them, so don’t expect a ton of dirt, unless you’re cranking the Red Silk, but even then it’s not culture culture territory.

Through the time I’ve had them I find myself dialing them back for a cleaner sound more and more, so I’m hearing them less, but I still like what they do.
This is great info, thanks! Not looking to get dirt, just nice fat low-end and something special on the mids, so sounds like the 542s bring that which is great. Do you run them last on your mix buss chain?

Quote:
Originally Posted by PeterLarkin View Post
Running your mixes through preamps is a great idea, if you go that route check out the Avedis Line Pad-Z, it’s designed specifically for this purpose, correcting the impedance as well as padding the signal down for line level into a mic amp. Sounds better in this application than other pads I’ve used.
Yeah, the MA5 is on my list, but can't any pre-amp with a line input selection do the same? Can you push the MA5 to give a nice fat tone like a 1073?
Old 29th December 2019
  #10
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Quote:
Originally Posted by drainyoo View Post
Read good things about IK Tapes. Going to give it a try. Right now I use Softube Tape.



I have considered that, but that would mean that I'd having to run everything through my converter a few times. Not sure what that does to the quality of signal.
Yeh IK is a different beast to the other tape sims, really great colouring busses

_+ yeh you’d want to run multiple busses of saturation in a summing setup for example, rather than make round trips. One of the benefits of summing for sure
Old 29th December 2019
  #11
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chrischoir's Avatar
 

a pair of real 1272s can add lots of mojo
Old 30th December 2019
  #12
Gear Nut
 

Quote:
Originally Posted by drainyoo View Post
This is great info, thanks! Not looking to get dirt, just nice fat low-end and something special on the mids, so sounds like the 542s bring that which is great. Do you run them last on your mix buss chain?



Yeah, the MA5 is on my list, but can't any pre-amp with a line input selection do the same? Can you push the MA5 to give a nice fat tone like a 1073?
Oh, if the MA5 has a line mode that will do exactly the same thing.

As far as the 542’s if you’re looking to add more weight they will work great. Almost too great.

My mix bus chain is vari mu comp > EQ > 542 > CAPI VC528 ML2 > converter

So there is a fair amount of color before and some after the 542’s, but when I bypass the 542’s I stop smiling. Even with very low settings it adds weight and something I don’t want to be without.
Old 30th December 2019
  #13
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Quote:
Originally Posted by PeterLarkin View Post
Oh, if the MA5 has a line mode that will do exactly the same thing.

As far as the 542’s if you’re looking to add more weight they will work great. Almost too great.

My mix bus chain is vari mu comp > EQ > 542 > CAPI VC528 ML2 > converter

So there is a fair amount of color before and some after the 542’s, but when I bypass the 542’s I stop smiling. Even with very low settings it adds weight and something I don’t want to be without.
That's exactly what I'm looking for. I'm sold on the 542s.

For the pre-amp, not sure which is best to go with: RND 511, MA5, B1D or Chroma. Have you had the chance to compare the MA5 to any of these?
Old 31st December 2019
  #14
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BradM's Avatar
Quote:
Originally Posted by drainyoo View Post
I have considered that, but that would mean that I'd having to run everything through my converter a few times. Not sure what that does to the quality of signal.
Hi,

Don't even sweat that. If you have any reasonably okay audio interface made within the last 10 years you will be hard pressed to hear the artifacts created by multiple conversion passes. The benefit you get by using the outboard gear will far outweigh the negatives of running through your converters. That's what they are for...to convert audio from digital to analog and vice versa. Take advantage of that! Remember to leave reasonable headroom in your DAW (6-10 dB under 0 dBFS works for me), and use dither where appropriate.

Back when folks made records to tape, tracks often hit the console and tape deck multiple times before it made it to the 2-track. There were obvious changes in the sound between the time it first was captured by the mic and when it was heard by the listener. Yet, somehow, great records with great sonics were still made. Multiple digital conversion passes are orders of magnitude less destructive to the audio. I believe there are some old threads on GS where someone compared many multiple roundtrips of conversion to the source file and a single roundtrip, using an old Behringer ADA8000 (not the most highly regarded converter), and my takeaway of the test was that it was very difficult to hear the roundtrips until it was an excessive amount. I've reconfirmed this over the years in my own studio using much higher end stuff like Mytek and RADAR. At this point it's something I don't even think twice about.

Quote:
Originally Posted by drainyoo View Post
For the pre-amp, not sure which is best to go with: RND 511, MA5, B1D or Chroma. Have you had the chance to compare the MA5 to any of these?
I've compared Chroma to the RND511. Actually there are sound clips up on louderthanliftoff.com comparing Chroma to quite a few different API and Neve flavored preamps. The beauty of Chromas design is that it seems capable of covering multiple shades of both vintage and modern A and N sonics. It is also specifically designed to be a line level processor in additional to a mic preamp so no input pad will be required to use it on the mix bus. I believe that the MA5 and B1 are mic level only. Granted I'm of course biased because I make the darn thing, but of all the units you mentioned, it will likely give you the most sonic flexibility and greatest range of tones, especially once you consider the options the Colour module expansion slot provides....if that's something you are looking for. The Royal Blue module you mentioned is probably my personal favorite and one that I use a lot in my studio to brush a sweet British tone over my tracks. That said, you will never go wrong with anything made by Avedis or Burl. I'm happy to help however I can so if you have other specific questions you'd like to ask about my products dont hesitate to reach out.

cheers,
Brad
Old 31st December 2019
  #15
Quote:
Originally Posted by PeterLarkin View Post
Oh, if the MA5 has a line mode that will do exactly the same thing.

As far as the 542’s if you’re looking to add more weight they will work great. Almost too great.

My mix bus chain is vari mu comp > EQ > 542 > CAPI VC528 ML2 > converter

So there is a fair amount of color before and some after the 542’s, but when I bypass the 542’s I stop smiling. Even with very low settings it adds weight and something I don’t want to be without.
Are those Missing Links imparting much or are you using them more or less as a final level before your converter? Right now I have a separate mic preamp handling any colorful overloads before the converter but the ML's look like a better bet with the stepped controls and HP filter to cut out the 12hz energy.
Old 31st December 2019
  #16
More effects in the recording chain, you know maybe more flanger and chorus in the air from the amp.
My things I record they sound cool before the final mix fall into something strange.
Maybe introduce noise into the chain and use better effects in the air!
They are not in the 500 series but still, like flanger and chorus, EBS maybe in the air.
I reamp the tracks a lot but they fall apart after a few weeks, maybe use a line 6 pod instead and reamplify from lower volume!
I met a guy who told me that the line 6 pod is better than the Avalon gear if you reamp from lower volume.
But I am not sure, my recordings fall, but I only have a not so good pre amp.
Don't use the 500 series gear and use a lot of patch cables instead and build a cool chain with a/b boxes.
That's what we learned back in the mid 1990's!
Maybe have a dynamic release time in the mid ranges with a waves c4 on the stereobus during mixdown of the loops, and maybe a limiter with moving volume fader.
I have used the low end gear where I had good results with this setup!
I hear more color when I use the dynamic attack/release times on the mid ranges on the stereo bus!

/Regards, K. Svensson
Old 31st December 2019
  #17
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Quote:
Originally Posted by BradM View Post
Hi,

Don't even sweat that. If you have any reasonably okay audio interface made within the last 10 years you will be hard pressed to hear the artifacts created by multiple conversion passes. The benefit you get by using the outboard gear will far outweigh the negatives of running through your converters. That's what they are for...to convert audio from digital to analog and vice versa. Take advantage of that! Remember to leave reasonable headroom in your DAW (6-10 dB under 0 dBFS works for me), and use dither where appropriate.

Back when folks made records to tape, tracks often hit the console and tape deck multiple times before it made it to the 2-track. There were obvious changes in the sound between the time it first was captured by the mic and when it was heard by the listener. Yet, somehow, great records with great sonics were still made. Multiple digital conversion passes are orders of magnitude less destructive to the audio. I believe there are some old threads on GS where someone compared many multiple roundtrips of conversion to the source file and a single roundtrip, using an old Behringer ADA8000 (not the most highly regarded converter), and my takeaway of the test was that it was very difficult to hear the roundtrips until it was an excessive amount. I've reconfirmed this over the years in my own studio using much higher end stuff like Mytek and RADAR. At this point it's something I don't even think twice about.
Wow, Brad. Thanks for this detailed reply. I really appreciate it. Glad you set me straight with converting often. Everything you wrote makes completely sense and I shouldn't doubt the capabilities of current interfaces. You read all this stuff from other folks warning against it, but in reality going back and forth a couple of times won't change a thing. Like you mentioned, the benefits outweigh any disadvantages. I'm going to start running my tracks to my outboard gear.


Quote:
Originally Posted by BradM View Post
I've compared Chroma to the RND511. Actually there are sound clips up on louderthanliftoff.com comparing Chroma to quite a few different API and Neve flavored preamps. The beauty of Chromas design is that it seems capable of covering multiple shades of both vintage and modern A and N sonics. It is also specifically designed to be a line level processor in additional to a mic preamp so no input pad will be required to use it on the mix bus. I believe that the MA5 and B1 are mic level only. Granted I'm of course biased because I make the darn thing, but of all the units you mentioned, it will likely give you the most sonic flexibility and greatest range of tones, especially once you consider the options the Colour module expansion slot provides....if that's something you are looking for. The Royal Blue module you mentioned is probably my personal favorite and one that I use a lot in my studio to brush a sweet British tone over my tracks. That said, you will never go wrong with anything made by Avedis or Burl. I'm happy to help however I can so if you have other specific questions you'd like to ask about my products dont hesitate to reach out.

cheers,
Brad
I had missed the sound clips on your site, went back and had a listen and I can't tell the different between the Chroma and the other pre-amps and what it does on the drums is just delicious. Have you ever used the RND 542s after the Chroma?
Old 31st December 2019
  #18
Gear Nut
 

Quote:
Originally Posted by ripripstabstab View Post
Are those Missing Links imparting much or are you using them more or less as a final level before your converter? Right now I have a separate mic preamp handling any colorful overloads before the converter but the ML's look like a better bet with the stepped controls and HP filter to cut out the 12hz energy.
The idea was to have them control the final level, but I usually just have them at unity. They are imparting some color via the transformers and opamps, but it’s subtle. I have the hi-pass filters engaged on them for the mix capture and like the sound of them very much.
Old 31st December 2019
  #19
Quote:
Originally Posted by PeterLarkin View Post
The idea was to have them control the final level, but I usually just have them at unity. They are imparting some color via the transformers and opamps, but it’s subtle. I have the hi-pass filters engaged on them for the mix capture and like the sound of them very much.
Thanks, Peter.
Old 31st December 2019
  #20
Quote:
Originally Posted by drainyoo View Post
I make electronic music with a lot of lo-fi elements, noise and hiss and because of the type of music I make I tend to push the coloring more than you would on most mixes. Since I'm mostly ITB, I'm always looking for ways to experiment and add more analog coloring to my mix bus chain.

My current chain is:

B32 > SSL Fusion (AudioScape Buss Comp inserted)

I really like this setup, but the Fusion is a pretty subtle box and I want to add more color. I love the 1073 sound and I also use the Tape plugin on the mix when I print back into my DAW, so I want to see if I can add these characteristics to my outboard chain.

Because of space reasons, I'm mainly looking at 500 series modules. Here's where I'm at...

I want to add pre-amps right after the B32 and I'm considering the Avedis Audio MA5, Burl B1D or the LTL Chroma with Royal Blue Colour Module. I've read great things about the MA5 and B1D, but the Chroma sounds like it's something special. Basically a Silver Bullet in 500 form. What would give me the most coloring?

For the "tape" portion, I'm thinking the RND 542 or the Overstayer MAS (I have 1u space left in my rack), or maybe even both? From the examples I've heard, I love what they both do. Would both be overkill, or can I add unique flavors with each?

Finally, there's the Standard Audio Stretch. I like this for its ability, according to the site, to add depth to a mix. Anyone use these on there mix?

With these additions, my chain would look something like this:

B32 > Pre-amps > SSL Fusion (AudioScape Buss Comp inserted) > 542 > MAS

Would love input on what would be best to add.
Rupert Neve designs makes a tape saturation unit in the 500 series. They are dirt cheap. Like $800. So it would be easy to snag two. They have gain knobs so you can match. They sound very good. I have 4 of the RND 500 units and they all sound 10/10. I have the 511 pre which is my main vocal preamp. Thats going right into the 543 compressor at 1:1.5 ratio. So its being used as a line amp pretty much. Then Its going into my distressor to grab the **** out of it. I also have two of the 551 inductor EQ's which is the same EQ on the Neve Shelford channel strip. One of the best sounding EQ's I own among IGS and BAE 1073's I own.
Old 2nd January 2020
  #21
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proxy's Avatar
 

Love the MAS on either the mix bus (more subtly), or drum bus (more saturation in parallel).

Also great is the Zulu, but I’d recommend picking up one used.

Tried the RND Tape Emulation rack unit, and it was very classy, but a bit too subtle for color for me as a color piece. I get the sense the 500 series version imparts a bit more color than the traditional half-rack ones.

Lastly, I’ll say that I really love the Phoenix Nicerizer on the mix bus. Even without the summing, it’s a great color for the mix just running stereo. I start all my mixes through it stereo hitting the saturation sweet spot.
Old 5th January 2020
  #22
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Quote:
Originally Posted by proxy View Post
Love the MAS on either the mix bus (more subtly), or drum bus (more saturation in parallel).

Also great is the Zulu, but I’d recommend picking up one used.

Tried the RND Tape Emulation rack unit, and it was very classy, but a bit too subtle for color for me as a color piece. I get the sense the 500 series version imparts a bit more color than the traditional half-rack ones.

Lastly, I’ll say that I really love the Phoenix Nicerizer on the mix bus. Even without the summing, it’s a great color for the mix just running stereo. I start all my mixes through it stereo hitting the saturation sweet spot.
Hello,

Can you please expand on the Zulu color ? Does it really brings mojo to your sound: more weight, fatness, density ...
Thanks for sharing your experience
Regards
Sergio
Old 5th January 2020
  #23
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Quote:
Originally Posted by proxy View Post
Love the MAS on either the mix bus (more subtly), or drum bus (more saturation in parallel).

Also great is the Zulu, but I’d recommend picking up one used.

Tried the RND Tape Emulation rack unit, and it was very classy, but a bit too subtle for color for me as a color piece. I get the sense the 500 series version imparts a bit more color than the traditional half-rack ones.

Lastly, I’ll say that I really love the Phoenix Nicerizer on the mix bus. Even without the summing, it’s a great color for the mix just running stereo. I start all my mixes through it stereo hitting the saturation sweet spot.
Hello,

Can you please expand on the Zulu color ? Does it really brings mojo to your sound: more weight, fatness, density ...
Thanks for sharing your experience
Regards
Sergio
Old 5th January 2020
  #24
Lives for gear
 

Quote:
Originally Posted by drainyoo View Post
I make electronic music with a lot of lo-fi elements, noise and hiss and because of the type of music I make I tend to push the coloring more than you would on most mixes. Since I'm mostly ITB, I'm always looking for ways to experiment and add more analog coloring to my mix bus chain.

My current chain is:

B32 > SSL Fusion (AudioScape Buss Comp inserted)

I really like this setup, but the Fusion is a pretty subtle box and I want to add more color. I love the 1073 sound and I also use the Tape plugin on the mix when I print back into my DAW, so I want to see if I can add these characteristics to my outboard chain.

Because of space reasons, I'm mainly looking at 500 series modules. Here's where I'm at...

I want to add pre-amps right after the B32 and I'm considering the Avedis Audio MA5, Burl B1D or the LTL Chroma with Royal Blue Colour Module. I've read great things about the MA5 and B1D, but the Chroma sounds like it's something special. Basically a Silver Bullet in 500 form. What would give me the most coloring?

For the "tape" portion, I'm thinking the RND 542 or the Overstayer MAS (I have 1u space left in my rack), or maybe even both? From the examples I've heard, I love what they both do. Would both be overkill, or can I add unique flavors with each?

Finally, there's the Standard Audio Stretch. I like this for its ability, according to the site, to add depth to a mix. Anyone use these on there mix?

With these additions, my chain would look something like this:

B32 > Pre-amps > SSL Fusion (AudioScape Buss Comp inserted) > 542 > MAS

Would love input on what would be best to add.
Hello,

How do you like your Burl B32? Is it a significant mojo bringing unit?
Can you share your experience with it?
Thanks
Regards
Sergio
Old 5th January 2020
  #25
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proxy's Avatar
 

I love the crunch that comes from the enhance dial.

The other dials to me are fairly subtle, but enhance adds a great chewy crunch.

Weirdly, I think it sounds the way people *think* tape sounds like, even if it’s not actually exactly how tape sounds.

I use it mainly on the whole mix, or drum bus.



Quote:
Originally Posted by sergioelectro View Post
Hello,

Can you please expand on the Zulu color ? Does it really brings mojo to your sound: more weight, fatness, density ...
Thanks for sharing your experience
Regards
Sergio
Old 5th January 2020
  #26
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Quote:
Originally Posted by sergioelectro View Post
Hello,

How do you like your Burl B32? Is it a significant mojo bringing unit?
Can you share your experience with it?
Thanks
Regards
Sergio
I love it. I would say it’s less of a color box. It creates more depth and space in my mixes, and makes my kicks sound really nice. It slightly rounds off those transients. When I first got it, I compared a mix through it to a mix summed in my DAW and it was night and day.
Old 10th January 2020
  #27
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e-are's Avatar
Quote:
Originally Posted by Will The Weirdo View Post
In 500 series I would suggest you look start with the Bart HRK, DYIRE, and LTL colour series. So many cool yet cheap color options from all 3 and they are all interchangeable card options. Using the 4 slot Bart 544's you can have combinations that suit different needs, LTL and Bart have cool other 2 and 3 card options with blend. Bart recently released SSL cards, DYIRE has their new series II options and LTL has those killer filter and Neve options.

If these don't fit your needs you'll start spending real money, but the Chandler 500 options and RND 500 options are colorful.
After reading your post, I ordered 2 BART HRK units each with the solid state, discrete saturation and 80's tape driver plugin modules. Just messed around with them for about a half hour. The gain/level you can get out of these units is ridiculous. I think they overlap each other somewhat but it's great for the coin. Great suggestion.
Old 10th January 2020
  #28
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Will The Weirdo's Avatar
Quote:
Originally Posted by e-are View Post
After reading your post, I ordered 2 BART HRK units each with the solid state, discrete saturation and 80's tape driver plugin modules. Just messed around with them for about a half hour. The gain/level you can get out of these units is ridiculous. I think they overlap each other somewhat but it's great for the coin. Great suggestion.
Remember that you can now order any of the 30-ish different colour cards out there to see what combo works best for your needs. I believe there are 6 companies doing colour cards now, with a lot of different options.
Old 11th January 2020
  #29
Gear Maniac
 

Quote:
Originally Posted by e-are View Post
After reading your post, I ordered 2 BART HRK units each with the solid state, discrete saturation and 80's tape driver plugin modules. Just messed around with them for about a half hour. The gain/level you can get out of these units is ridiculous. I think they overlap each other somewhat but it's great for the coin. Great suggestion.

Im thinking about buying a UBK fatso to use as the compressor on my drum bus. Mainly because of the color/saturation it provides. Right now I use a pair of DBX 560's they're great but transparent. I like to add a little dirt. So I looked at the HRK units thinking I could just place a pair of these after my 560's just for a touch of color to the drums.


The only problem is when I go onto their site or youtube page they don't offer wet/dry examples of how each module sounds. even though the prices are cheap Id still like to know what I'm buying exactly.
Old 11th January 2020
  #30
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Will The Weirdo's Avatar
Quote:
Originally Posted by IAMGOD_OFFICIAL View Post
The only problem is when I go onto their site or youtube page they don't offer wet/dry examples of how each module sounds. even though the prices are cheap Id still like to know what I'm buying exactly.
HRK's website has many different audio files of each colour card at work per colour card page if you scroll down. LTL has examples on their site and DYIRE's are all on their youtube channel.

Most of these cards range from subtle color to outright sonic mayhem if driven using the drive knob, I keep most of mine down low as too much color comes fast. The real power is when you chain them and they then can become something special and original. I've found myself slowly finding different chains that work best for different things. All in all I like a transformer card, followed by a filter or EQ card, followed by a tape or tube card, followed by a console colour card on my 544's.

For the low cost it's a bang for the buck sonic playground IMHO....... jump in and have fun.
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