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Why are UAD Plugins sounding that much better? A serious question Dynamics Plugins
Old 13th November 2018
  #151
Lives for gear
 

Quote:
Originally Posted by Mho View Post
The saturation is a big part of the SSL sound...
10-4 on that! It's the reason SSL consoles sound so punchy.

I did forget to mention that Slate does have the VCC that models the output channels of the SSL. It has an adjustable drive on it too. Just make sure to have that at the end of the chain when using the EQ.
Old 14th November 2018
  #152
Mho
Lives for gear
 

Quote:
Originally Posted by Flippy Floppy View Post
10-4 on that! It's the reason SSL consoles sound so punchy.

I did forget to mention that Slate does have the VCC that models the output channels of the SSL. It has an adjustable drive on it too. Just make sure to have that at the end of the chain when using the EQ.
For me the VCC compresses the signal, I see the red light of clipping, but I don´t hear the distortion. It takes an insane amount of level to hear the distortion. With the uad ssl, you feed it with +3 VU and it distorts right away, like if you had decapitator or Avid´s LOFI on the next insert. Is not subtle at all. And it is really cool. I miss that on the Slate´s, which is cool but extremely clean.
Old 14th November 2018
  #153
Lives for gear
I'm curious how people who have used SSL consoles feel about Sonimus StonEQ4K. It has a separate Drive control, so you can adjust the saturation to your preference. I have never used a real SSL, so I don't know how true it is to the original(s) it is inspired by (it claims to combine the best aspects of brown and black SSL EQ types), but I do know I really like that sound.

Quote:
Originally Posted by Flippy Floppy View Post
10-4 on that! It's the reason SSL consoles sound so punchy.

I did forget to mention that Slate does have the VCC that models the output channels of the SSL. It has an adjustable drive on it too. Just make sure to have that at the end of the chain when using the EQ.
Old 14th November 2018
  #154
Here for the gear
 

Quote:
Originally Posted by consnyc View Post
Friend,

please read posts #37 and #40 . Obviously it is you who is not reading
the thread before posting, and before accusing the ones
posting in the thread before you for "not even took (sic) part in it".

But you are happy to see it go on
a tangent from the earth's surface to space where it is currently.
Sorry missed that.

Guess I did not expect one would visit a thread one week later to say it should be closed...
Old 14th November 2018
  #155
Gear Addict
 

Quote:
Originally Posted by 85mat View Post
Sorry missed that.

Guess I did not expect one would visit a thread one week later to say it should be closed...
Seriously, this thread started weird and is still going to stranger places.

But if you enjoy it, go for it (no sarcasm intended).
Old 14th November 2018
  #156
Lives for gear
 

Quote:
Originally Posted by drichard View Post
I'm curious how people who have used SSL consoles feel about Sonimus StonEQ4K. It has a separate Drive control, so you can adjust the saturation to your preference. I have never used a real SSL, so I don't know how true it is to the original(s) it is inspired by (it claims to combine the best aspects of brown and black SSL EQ types), but I do know I really like that sound.
Not sure. Never heard of it till now. Looks like it’s just the eq with a drive option.

I stopped at the UAD version because I have compared side by side with the real thing. It’s so close to the real deal! Best complete emu of an SSL to date. Not sure how much room there is for improvement...

...me reading this 7 years from now as I load up the SSL MKIII
Old 14th November 2018
  #157
Quote:
Originally Posted by chrisj View Post
I would point out, though, that at DAW values (we're typically working on sampled values between -1.0 and 1.0, not +76236742374 as a sample value) the rounding of the mantissa is constantly happening at what would be around the 25 bit level for EVERY stored number and calculation made, only scaled down into the noisefloor by the exponent. Samples of 0.5 to 1.0 and -0.5 to -1.0 are getting quantized as if they're roughly 25 bit fixed point every time a new float is stored.

That's just how floating point works.

So you're correct that the representable sample values (dynamic range) go from infinitesimal to impossibly huge, but when it's impossibly huge the quantization values are themselves so loud you couldn't stand to hear them at even one-bit level. It's just a mantissa being slid up and down in volume all the time. When it's huge, it's kind of coarse (not for output audio, but if you were to do thousands of calculations it'd degrade on you from quantization). When it's impossibly tiny, that's when you get the high quality audio resolution.

Also, when you do math on floats the math has to settle on an exponent that'll cover both values, so the order of accumulating audio data can matter: this is why multiplying by 1.0 doesn't always equal 'no change'. If your tiny value can't be represented at the same exponent as the 1, it can get rounded to zero (assuming you're not using a different word length as a buffer). If you were going to amplify it up again like in a compressor, that's just too bad

I stopped using 32 bit floats for calculations when I realized that. It's odd: the quiet noises remain as good as you could want, but when you overprocess, the loud parts go flat on you and it's because of extensive quantization rounding. I recommend longer data types for this reason (and minimalist algorithms) and when I get a 'house sound', that's why. You can notice a difference in sound texture from doing this, though it's very fugitive… and sometimes the more accurate choice doesn't always sound better (I did a retro echo-diffusion effect where using floats sounded better for that effect).

All my stuff is in floating point formats, but I actually don't think floating point is optimal for processing audio data. I'd prefer a really long wordlength fixed point format, not all that much headroom, and just be careful about producing overs.

Thanks for the detailed information, Chris. It is interesting to read your feedback on the quantization rounding.
I did mean to explain the difference in bit rate between the standard 32 bit float processing of DAW software as opposed to the integer hardware rather than the actual processing of the algorithms, or is that suffering the same potential audible difference?
Old 15th November 2018
  #158
Lives for gear
OMG this thread....
Old 22nd December 2018
  #159
Gear Head
 

@Flippy Floppy Sir i am an ardent follower of your posts on GS.

I have a request to you. Having nearly all real gears, How does Slate's FG-N, FG 73, esp Blue Vintage 116, FG-API EQ sounds against real hardware's you have.

Also if i add VCC Brit 4K E after FG-S, in view of adding VCA saturation will it sound identical to UAD's SSL Eq ?

Please do some tests for me.
I will really appreciate. Much thanks!
Old 23rd December 2018
  #160
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Quote:
Originally Posted by Ziko123 View Post
@Flippy Floppy Sir i am an ardent follower of your posts on GS.

I have a request to you. Having nearly all real gears, How does Slate's FG-N, FG 73, esp Blue Vintage 116, FG-API EQ sounds against real hardware's you have.

Also if i add VCC Brit 4K E after FG-S, in view of adding VCA saturation will it sound identical to UAD's SSL Eq ?

Please do some tests for me.
I will really appreciate. Much thanks!
Well, thank you! Cheers!

I love the FG-N. It’s sounds very much like one of my hardware Neve 1084’s EQ’s.

To be truthful, I’ve never compared the FG-73 to my Neves. I’ll have to do that one day.

I’m not sure about the authenticity of the FG-117 Blue. But I know it sounds great! The FG-116 sounds like my vintage units. If you search you will find my deep shootout thread.

I actually don’t own any API EQ’s. I have some API pres. I’ve used API EQ’s several times in various studios, but they were never my first pick. No reason for that, since they are great eq’s. But based off of Slate Digitals other emulations, I’m sure they are damn close.

The FG-stress is another great emulation

As far as the Slate SSL EQ, it sounds really good, but I’m missing the LP filter and the dynamic section!! I wish they emulated the whole chain. But yes, VCC will get you closer sonically. My end to end favorite is the UAD version. Super heavy on DSP though. The waves version is always a great option too. No shortage of SSL plugins.
Old 25th December 2018
  #161
Here for the gear
 

Uad plug-ins

I have one satellite and the one octo card

I have lots of other plug-ins from different companies but overall my favorites are.
Uad fatso
Uad pultec
Uad lexicon 480 L
Uad la2a
Uad Fairchild
Non uad
Fab filter Pro q3
Fab filter pro L2
Fab filter pro MB
All of Soundtoys
Eventide h3000
Sample magic Magic A/B
Old 27th December 2018
  #162
Gear Maniac
 
noobist's Avatar
 

Universal Audio have done a superb emulation of Apple's Reality Distortion Field... It comes free with all UAD purchases.

Seriously though... Some of their emulations are superb and better imo than other companies'. API 2500 for example is all over the Waves one. But that's not true across the board. There are some other companies doing superb emulations also.
Old 28th December 2018
  #163
Lives for gear
 

The UAD card is the weak link in the stability of my system so I'd love to ditch it, but darned if those staple UAD comp plugs always seem to beat out the competition (in my own shoot-outs anyway). 1176*, LA-2A, Precision Buss... just can't be matched!

*One quantifiable reason, in answer to the OP, is very few 1176 emulations come close to matching the fast attack speed of the UAD versions...
Old 28th December 2018
  #164
Lives for gear
 
Rufuss Sewell's Avatar
I hate the UAD business model... and their pricing. And the added latency. I would prefer native versions.

But the fact is, for a lot of situations they just sound amazing so i have to stick with them.
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