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Nebula must have Equalizer Plugins
Old 1 hour ago
  #5701
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Quote:
Originally Posted by rosewood123 View Post
Masters to tape are often done at 30 ips on those 2-track machines, where you get extended high frequency response. The downfall here is you lose some bass response. AFAIK, you can get extended low frequency heads and things like that to keep more bass.
Alignment and tape formula make a significant difference too. With the right bias, HF pre-emphasis, and LF / HF repro settings you can get very linear masters, or even boosted bass from 30ips. The head bump at this speed shifts an octave up from the nice 15ips thump though.

The 37j programs don't sound like an ATR-102 with great heads and output stage, but I doubt the hardware does either. The 2 pre/de emphasis programs together definitely smooth and compress though. I use this regularly on groups of backing or harmony vocals, or s***** synth/guitar/key tracks. Overhead or room Drum mics too.
Old 1 hour ago
  #5702
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Just picked up Tim P's Blue Mu, Shape Mod, and Complex Comp this week.

Shape Mod is my new favorite tool for adding attack and the contour and trigger response options are quite useful for tuning envelopes to suit the source. SPL TD is officially retired here for poking drum mics out.

Speaking of impact and adding "poke" I was surprised by the Blue Mu limiter. It can be very cool on plucked sounds or bright or bandpass piano and keyboard chord sounds in a dense or aggressive mix.

The latest 100a beta is rocking and really grabbing like hardware - very excited to hear Blue Mu will have a similar improvement. Even the current v2 is strong as a drum parallel with a quick attack (try 1 - 2.5ms) and release to taste (100 - 300ms). 2:1 ratio works well adding glue and sheen to a full kit while bringing some smooth but punchy attack.

This pairs well with more heavy parallel compression on kick and snare to really pin them up front - Tim's ra6 or Complex are perfect for this. The ra6 for weight and importance with fast transient limiting, or the Complex with slow attack for blocky smack. Or add parallels of both to taste.

Same goes for snare drum.

Complex on drums in general is rocking - front kit or mono room mic - definitely. Medium attack sounds great, slow if you need major impact. Super fast attack and release to trash things up and ring out all the texture. A nice alternative to the u76 All buttons in thing.

Try mixing in some Shape Modifier sustain on a stereo room pair to lengthen and enlarge the room, followed by fast attack Complex catching peaks and adding some crunch. EQ to taste to support snare tone and room depth while reducing cymbal presence, then key an expander from whatever combo of drum close mics you want. With the room mixed low to just add some subtle glue and depth , 3 - 6dB of well-timed expansion on kick and snare hits adds something great.

Complex comp can work very well on aggressive vocals or synth parts too.

Going to try the 60a library next. I expect it will pair well with DualTech adding low end thunder makeup post-compression.

Keep up the outstanding effort Tim.
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