Відео

All the above plus the new McDSP tape module for APB.

@@AudioAnimalsStudio McDSP APB looks fire! Too bad it's Mac only :/ I assume that's what you use? You mentioned you got rid of all 500's in your chain, I concur, so I'm torn about hardware tape emulation... "All of the above" are all unganged 500's with unstepped pots, a worst-case for mastering. Let alone potential raised noise floor, gain staging issues etc. Seems like the industry's biggest oversight to not have a full rack box with stepped or at least detended stereo-ganged controls for a quality tape emulation.

You can use mastering units in mixing, it's just not cost effective most times to spend £5k+ on mixing gear. You can certainly use it though. Some units will have a mixing version. The Wes Audio NG Tube EQ has the ability to switch between 5db gain or 15db gain.

@@AudioAnimalsStudio Thanks Paul

For me the power plugins have is giving me something I can have out the box. Combining the two to get the best of both worlds. Soothe and split EQ are prime examples. Nothing like them out the box. Same with plugins like Fabfilter pro Q3. The visual analyser gives you something you don't have out the box. Hardware emulations are nice but they don't sound the same and they limit their functionality in the box by trying to be something out the box.

​@@AudioAnimalsStudio Agreed! I mean, if plugins ever do get to sound as good as hardware, that would be amazing - and then I wouldn't mind if a plugin limits its functionality to match that of the hardware its emulating. But until then, lets be realistic about how they do actually sound. On the other hand, there are some things that can only be done in the box (Soothe, Split EQ) and THOSE plugins are pretty amazing and becoming indispensable. And for those of us who can't afford the hardware, we'll keep using plugins. But I have no illusions about the quality of the sound compared to high quality hardware

If I can get hold of one, I will

Interesting analogy. The question I always people is why are more people than ever buying hardware if plugins are as good? And why in every studio that can afford to buy anything they want, do you see expensive hardware if plugins can do the same thing and are ridiculously cheap in comparison?

This is a really deal they have on at the moment.

Some are terrible when you play them back in an atmos room. This is often due to the Dolby Atmos mix being mixed in headphones and not on an atmos system. Also mixing in atmos is new to a lot of engineers and they haven't worked out the dos and don't. It's really important when mixing in atmos that you reference playback for Atmos, binaural and Apple playback. A lot of the time it'll sound great in one format not the others. The key to a good atmos mix is ensuring playback is good across all 3. It's similar to mixing in mono and never referencing how it would sound in stereo. It's guesswork if you never hear it playing back how the user hears it.

Let me tell you this as a fact. If there's a secret workflow or secret to the sound someone creates, they aren't sharing it with others on youtube. I share a lot on youtube, but I never share the secrets to obtaining my sound. That's my sound. You'll find this is similar to others, too. These videos annoy me too as they are factually incorrect and are click bait. There is no one plugin you'll ever need and there is no trick all producers use. My advice would be, trust nothing until you test the process for yourself and find out if it works for you.

@@AudioAnimalsStudio Yea I've learned that over the last 12 months, but beginners don't have the knowledge or experience to know what works for them... they rely on the advice to guide them. You try and copy others who claim to know what they are doing, but you don't have an experienced enough ear to be satisfied that it's good enough. You always see the next video claiming this guy has what you're missing, so you add it, and it either makes zero difference or ruins your track. I'm 99% convinced that these guys use words like "tightening up the bottom end, add flavour to a vocal, vocal jumping out from a mix" when in fact absolutely nothing is actually happening... it's like they just say these things to make you feel like you aren't special enough to hear what they can! I've ended up buying at least 50 Waves plugins already, each one came from some video claiming it'll add something special. SSL this on the master bus, Abbey Road that on the vocals, In the end after hundreds of hours, I've settled on using almost none of them.

@Reginaldborington yeah and the worst thing is this is at a cost to you to gain not a lot. These are all buzz words. The secret to removing mud from your mix is particular buzz word you hear a lot. A lot of people will say these things not even hearing what it is they are claiming. I hear it a lot in the comments for videos. We all perceive sound differently. Best advice for you would be a lot of trial and error. There's no real quick fix and no real shortcuts. If you do want to listen to someone find someone trustworthy who is very open and transparent with their content.

@@AudioAnimalsStudio The breakthrough for me came when I went for local guitar lessons a few weeks ago, but this guy also works as a mastering engineer... so I played him a few of my tracks and he immediately cringed up and pointed out they were way too saturated in the 4-8k range, far too bright... and that was because I'd piled on Abbey Road TG presets assuming they all did something positive, Aphex exciters, Manny this and CLA that, I'd been conditioned to believe that the raw recorded signal was too vanilla and all these plugins are needed to "sculpt" a sound in a way, that to get the studio sound you need all this kit. But yea, hundreds of hours of trial and error led me around the houses and back to almost a completely unprocessed track. Very minor EQ, single 2A compressor and deesser, and the rest is money down the drain! It's been a very frustrating 12 months but I guess it's been a positive learning curve, I just wish I'd seen a video from someone saying to not listen to all this noise. I could make that video myself but popularity is more credible than the truth.

@Reginaldborington endorsed plugins are one to watch out for. The endorsing engineer may use them on screen and in videos but does he use them as their go to plugin. 99% of the time the answer is no.

Bear in mind that it has an external power supply. That would normally take up a lot inside a unit.

Yeah ill buy the silver face from you dont want the black

I tried this and no it doesn't work. The mid range works in a very different way to a standard EQ.

@@AudioAnimalsStudio CHEERS PAUL , I THINK A VIDEO DEMONSTRATING WHY IT DOESN'T WORK WOULD BE INTERESTING, WHY NEVE HAVE NOT RELEASED A I UNIT RACK OR 500 SERIES WITH ONLY SILK FUNCTION BAFFLES ME. THANKS FOR REPLYING CHRIS

@christopheroconnor8842 baffles me too. But I feel it's because they think it'll affect sales of the other units that have silk textures built in as a key feature.

That's not a bad idea. I've considered doing some sort of live stream content myself, but it's so time-consuming. I just about get the time to create this kind of content. I need a team around me to have it all set up, and I can just walk in record and get back on with work. I would love to do this though.

The exact measurement is Ceri Thomas with an outstretched arm above his head. If you know, you know.

I personally have all but 3 plugins which are guitar amps and I only use the Ampex ATR 102 on a regular basis.

We've developed plugins for us to use, that are unique to the way we work and the workflow we use. We may sell them, we may not. We may give them away for free. We haven't decided yet. The big difference is we as engineers build what we need. Not what sells. Plugin companies build what will make them money. Not what they need in their studio. So we approach plugin development different. Do you think a company like Native instruments are thinking what would the 1% of Dolby Atmos mastering engineers need let's make something great for them. No they are thinking what do the 99% of producers need that will keep the shareholders happy. We think very different.

@@AudioAnimalsStudio Okay, so let me get this right You're developing plugins, an entity that you clearly state you are bored with, to make them unique to the way YOU work [I'm assuming the 'you' are collectively Audio Animal Studio and fellow mastering engineers, forgive me if I'm wrong on any count.] So whether you sell them or you don't wouldn't we as your perspective customers have to adapt to the way you work in order to have a 'unique' perspective of the plugins you're making I agree that there are some plug-in build what they will make them money, but not all In truth I would go so far as to suggest that buying a decent DAW negates the need for third party plugins, but as you and I truly knows there is a market for them. It is monumentally easy to be bored of plugins that one may get for free, week in week out, and if I may be so bold I would suggest you have bought a few of your plugins in your lifetime that you no longer use forgive me if you're alluded to that point already. Those said plugins that you yourself said and thought they were great to begin with but now are gathering dust in your plugin folder, which proved the sales pitch worked for you to part with your hard earned to find that out... We've all been there... Developers plugging companies and their customers felt at one point or Another that certain plugins were 'needed' when in reality in the 75% of cases the stock plugins in your DAW will more than suffice So I ask you this genuine question, what is your [AAS] approach to plug in development that is different from the plethora of plugin developers out there. I really want to know if only to get an insight The Native Instruments Dolby Atmos question is kind of lost on me simply because i'm not that invested in either, even though my DAW of choice Cubase, Wavelab and Spectralayers accommodates the latter in your question. It's funny how you equate 1% of Dolby Atmos mastering engineers and the other 99% of just producers 'needs' that will keep the shareholders happy, is a bit of a broad brush stroke, but I digress. So I ask again what is your insight that makes you think different, please share because I think it will benefit us all Thanks for your time and dialogue my brother.....peace

With anything we're developing we look at it from a user perspective as we are building them for our use. I look at what is missing from what I already have. This is how I came up with the idea for the Hendy Amps Michelangelo XL EQ and had that built. Because this piece of hardware did not exist in the analogue domain. Same principle with plugins. What is missing, what hasn't been created. What do I do out the box I wish I could do in the box that hasn't yet been done. I'm bored of plugin emulations. Plugin emulations have limitations and what we should be doing in the box is utilising the ability to do things we can't do out the box. I love plugins like FabFilter Pro Q3 but there are also things I dislike about it. With what I build for myself I want the plugin to be built for me. Think of it like this, you are buying a house. You look at all these different houses. You like a few of them but ultimately you would ideally change a few things more to your taste. Now imagine you buy a plot of land and build your own house exactly as you want it. Similar principle here. We want to build plugins for us that are built exactly as we want them.

@@AudioAnimalsStudio Now you're talking hardware. Well from a personal standpoint I'm not that fortunate to have the resources to make hardware, but I truly appreciate the process and appreciate the reasoning behind it. I'm simply coming from the old school of recording thru different eras as a 60 year old musician from analogue to digital to hybrid music production recording/mixing/mastering and being energised thru each era. Don't get me wrong, I get your opinion 100% but our industry is ever perpetual, what if AI could optimally reproduce your hardware and on top of that make it more cheaper....not that much of a pipe dream at the rate AI is entrenched in the music production world as it is. I am simply emboldened in the knowledge that whether you use Pro Q3 or I use a plugin emulation..music wins. Thanks for listening. Happy mastering brother. Peace

@lloydbrownmusic neither do I have the resources or knowledge to create hardware but I worked with a company that does. I come from the real user perspective of having an idea based on my needs. Then I need people around me skilled in their area who can build my vision. Same goes for plugin development.

I prefer the sound of this plugin across every channel. I'm not particularly a fan of using it over the master bus. That's more because I have analogue equipment with multiple transformers over the master channel.

Audiotales 1954 or Buzz Audio REQ 2.2

What if money WAS an object? 😂

@thimthim777 stay in the box and use a plugin. Or go down the 500 series route and get something like a pair of Maag EQ4s.

@@AudioAnimalsStudio Oh that's a good idea. Thank You!

Try listening on a decent system instead of a phone. You may feel otherwise.

@@AudioAnimalsStudio you mean a system that dresses up modestly and goes to Church every Sunday?

No. The main difference between the HE2 and MBT in the high end, is that the range goes down much lower in the high band. Both versions go down to 5k, the MBT goes much lower. The black version will probably be slightly closer.