A lot of people ask "What should I buy next?" but it's interesting that most folks immediately recommend with a piece of hardware instead of asking "What kind of music do you make/mix and what do you need to reach your goals?"
I am a lone songwriter in a project studio and I'm not mixing bands / full drum kits. Since this stuff is so expensive, I've been trying to figure out what I need and what I use the most. After using a hardware 2 channel EQ (Great River), I realized that I wanted to get out of the box entirely for EQ-ing, so I bought a Toft. ITB compression seems fairly good to me, but I am now wanting for better reverb.
A very programmable analog delay probably... a lot of fx can be made from delays like chorus and sounds that sound like a.comb filter and more
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I've been trying to use more delay than reverb, as per many a Slutz recommendation, and I've been getting pleasing results.
If your'e really looking for great fx, try an eventide H3000. Besides distortion and compression, it will cover every base. It can sweeten up every sound you throw at it.
And, stereo is still the best effect yet.
Being a guitarist who grew up listening to Andy Summers and the Edge, I'd have to say DELAY, preferably a nice analog or tape flavor (though there are some nice digital benefits as well).
It's all about what you are specifically doing. No single effect is useful in all situations, though in most situations it's useful to have a flexible equalizer. There are of course different kinds of EQ. Some are for careful correction, leaving little to no audible "fingerprints". Some are for sweetening and specifically have a flavor they impart. Others are somewhere between the two and some are very interesting in that they can be sweet and surgical depending on how you use them.
Equalization aside, whatever effect you need is best chosen based on what you're specifically dealing with, not necessarily genre of music; I find genres less useful for deciding on gear than the specific sound you're after, and it takes a while to know what kind of sound you need and what kind of sound certain pieces give you. If, for example, you find you want to control the dynamics of a vocal in such a way as to make it seem like there is nothing going on, yet the vocal just sits in the right place, then you might be looking for a compressor/limiter that didn't leave too much of a fingerprint on the sound but could handle a vocal's dynamic range. That's a genre independent decision for the most part.
It's all about what you are specifically doing. No single effect is useful in all situations, though in most situations it's useful to have a flexible equalizer. There are of course different kinds of EQ. Some are for careful correction, leaving little to no audible "fingerprints". Some are for sweetening and specifically have a flavor they impart. Others are somewhere between the two and some are very interesting in that they can be sweet and surgical depending on how you use them.
Equalization aside, whatever effect you need is best chosen based on what you're specifically dealing with, not necessarily genre of music; I find genres less useful for deciding on gear than the specific sound you're after, and it takes a while to know what kind of sound you need and what kind of sound certain pieces give you. If, for example, you find you want to control the dynamics of a vocal in such a way as to make it seem like there is nothing going on, yet the vocal just sits in the right place, then you might be looking for a compressor/limiter that didn't leave too much of a fingerprint on the sound but could handle a vocal's dynamic range. That's a genre independent decision for the most part.
He's got a toft for the eq, and is happy with internal compression. An eventide is the perfect effects, and will compliment both of the above.
Equalization aside, whatever effect you need is best chosen based on what you're specifically dealing with, not necessarily genre of music; I find genres less useful for deciding on gear than the specific sound you're after, and it takes a while to know what kind of sound you need and what kind of sound certain pieces give you. If, for example, you find you want to control the dynamics of a vocal in such a way as to make it seem like there is nothing going on, yet the vocal just sits in the right place, then you might be looking for a compressor/limiter that didn't leave too much of a fingerprint on the sound but could handle a vocal's dynamic range. That's a genre independent decision for the most part.
Yes indeed! I have an ADR Compex on the way. A few UA products are on the wishlist. I like the soft versions of the 1176 and the LA3A. I'd love to compare these with the hardware models.
Due respect, it seems you have not experienced any serious analog compression units... something tells me that if you had, you'd have a different perception [I could be wrong... but that's been my experience].
Being a guitarist who grew up listening to Andy Summers and the Edge, I'd have to say DELAY, preferably a nice analog or tape flavor (though there are some nice digital benefits as well).
Any recommendations, what are you using at the moment . ?
Due respect, it seems you have not experienced any serious analog compression units... something tells me that if you had, you'd have a different perception [I could be wrong... but that's been my experience]. Peace
Agreed! That may be the weakest link in my chain, although I am satisfied but not doing cartwheels over my ITB compressors. My reverb is merely passable.
Breathe. Food i can be without for a day. I would probably survive without eating for a couple of weeks. I can handle no breath for one minute. But without it for ten i will be dead.