lagerfeldt wrote on Wed, 07 December 2005 00:21 |
TotalSonic, thanks for the suggestion. I'm actually missing good analog EQ with those functions. I wonder if that'll do it though, as I'm really after quite a drastic effect? Hm, perhaps. |
TotalSonic wrote on Wed, 07 December 2005 01:40 |
hmmm... Depending on how big of a change you mean by "drastic" - it might not do it - although maybe if you combined it with a multiband comp only set for a single low to low-mid band it would do it for you. I've used an SPL Vitalizer and analog eq's to achieve some semi-drastic changes on the bottom end also. It can get ugly real fast - but Wave's Maxx Bass might do what you asking also. But If the client really wants mastering changes to be "drastic" from their original mix - but only want to change a specific freq band or sound of one instrument I usually direct them to try and bring these kinds of things out in their mix first. I usually think of mastering as trying to just enhance the integrity of the mix instead of drastically changing it. Then again - if they are in a time bind or simply do not have access to the unmixed tracks then you have to make do. Best regards, Steve Berson |
lagerfeldt wrote on Tue, 06 December 2005 23:28 |
I have this special sound in mind, like tape saturating almost on the point of distortion (nice analog sounding distortion of course) |
TotalSonic wrote on Tue, 06 December 2005 19:08 |
I'd probably look towards an analog eq with some character to do what you're asking. i.e. the Amek/Neve Medici's low band with the "warm" button engaged can do what you're asking pretty well. From what I saw at the AES demonstration the Legendary Masterpiece, with it's ability to add a couple different saturation types to only one part of the spectrum, and also eq's with similar tweakable character (with "warm" now called "glow"), would be just the ticket for what you are asking. Best regards, Steve Berson |
lagerfeldt wrote on Tue, 06 December 2005 18:28 |
I'm looking for some way of warming up the low end. However, I'm trying to add "fatness" mainly to the 80-200Hz region. I have this special sound in mind, like tape saturating almost on the point of distortion (nice analog sounding distortion of course). |
jazzius wrote on Tue, 06 December 2005 23:00 |
The Hedd will add thickness to that 80-200 range...for days....nothing else (that i've tried) will do this so well without damaging other parts of the spectrum......Dazzer |
jazzius wrote on Wed, 07 December 2005 08:00 |
The Hedd will add thickness to that 80-200 range...for days....nothing else (that i've tried) will do this so well without damaging other parts of the spectrum......Dazzer |
dcollins wrote on Wed, 07 December 2005 07:55 | ||
Which knob(s) did you turn? How much? DC |
lagerfeldt wrote on Tue, 06 December 2005 23:28 |
I'm looking for some way of warming up the low end. Gaining a lot on my Gyratec X (Vari Mu) goes a long way and also increases the stereo perception a lot (I call it Daddy's Little Helper). |
jazzius wrote on Wed, 07 December 2005 07:00 |
The Hedd will add thickness to that 80-200 range...for days....nothing else (that i've tried) will do this so well without damaging other parts of the spectrum......Dazzer |
Viitalahde wrote on Wed, 07 December 2005 21:44 |
Yes - the G10 is incredible in this matter. Partially tubes, partially transformers. I find myself using less EQ to fix these kind of bass problems. To drive it more, I just pre-gain using the gain of the SSL mixbuss compressor clone in the rack. |
fj wrote on Wed, 07 December 2005 19:32 |
Speaking of the HEDD, I'm curious how people are using the triode knob. It seems that it may add in the area the post is addressing. Which types of productions does it help on, what do you feel it adds, how much do you use? I have had limited luck using the triode knob with some of the more "open" mixes I have worked with, but my unit is still new and I wouldn't call my self comfortable enough with the unit to make my own recommendations. |
Dave Davis wrote on Wed, 07 December 2005 11:12 |
In addition to many of the good suggestions above, I'd consider something non-obvious: A good high pass filter below the lowest musically useful information you have. Undesireable low harmonics eat a lot of power, and really do nasty things to the audible portions you care about. Also, don't automatically assume you have anything worthwhile at 20Hz, simply because that's the lowest number you see... you may find that a setting considerably higher (>30 Hz) tightens up your bass in every environment. -d- Dave Davis QCA Mastering/UltraInteractive |
Adam Dempsey wrote on Wed, 07 December 2005 18:06 |
A good HPF for tightening this sort of music ideally being steep (24dB/oct or more) and analogue (avoiding ringing). |
Adam Dempsey wrote on Wed, 07 December 2005 21:40 |
Yes, sorry, I meant any nasty high Q digital ringing, rather than the nicer, euphonic ringing as with some analgue EQ, eg our Orban 622B parametric - great for colour. |
lagerfeldt wrote on Wed, 07 December 2005 23:01 |
Do you use the SSL first, then the G10, or the other way around? |
Viitalahde wrote on Thu, 08 December 2005 07:03 | ||
Depends, but sometimes I put the SSL clone first just to drive the G10, it's pretty clean gain I got there. I might do some tickleing with it too, but not much at all. Sometimes it works really well the other way around also. |
lagerfeldt wrote on Thu, 08 December 2005 09:26 |
I have enough gain going out from the DAW in 4+dBU. Is your SSL transformer balanced? |
lagerfeldt wrote on Wed, 07 December 2005 20:14 |
Henrik, have you changed the setup so you can now get hotter levels into the GX, and then really turn up the gain ALL the way? I'm doing this a lot lately, have you checked out what it does to the harmonics, it's f*cking incredible! You can actually view it in a freq analyzer, the harmonics just spike all the way up when you turn the dial and the sound gets fuller, creamy and full of life and details. |
ammitsboel wrote on Thu, 08 December 2005 17:48 |
I tend to run the output low |
ammitsboel wrote on Thu, 08 December 2005 18:48 |
I have all the gain I want now from a nice preamp in front of it. I think there are good things and bad things about cranking the gain in the G10. In some aspects the sound gets bigger and more open, but in other aspects it gets more closed in. I consider the effect to be too much for mastering unless you really do receive indescribably bad audio to work with? I tend to run the output low so I don't saturate the core of the output transformer, too me it sounds closed in when it saturates. How do you run your output and what to you prefer? The overall effect of the G10 is caused by the whole circuit and not just the tubes'n'transformers. Are you still sitting close to your monitors? |
dcollins wrote on Thu, 08 December 2005 17:00 | ||
If Bob Orban were here, he might say that if you have the same frequency curve in analog and IIR digital eq's, the phase response is the same. Hilbert said so. DC |
Thomas Detert wrote on Sun, 11 December 2005 15:24 |
Did you ever used a SEBATRON on the Low End ? I use the VEQC 2000 which sound pretty good ! Have a look at http://www.sebatron.com cheers, Thomas |
lagerfeldt wrote on Sun, 11 December 2005 16:18 |
Hello Thomas, nice to see you here! I couldn't find the VEQC 2000 on the website? |
zetterstroem wrote on Sun, 11 December 2005 20:22 |
you should have bought the manley holger... just did an album with plugs..... the manleys (summing mixer and comp)made it nice and phat.... (i still hate plugs.... but the record sounds ok.....) |
Thomas Detert wrote on Sun, 11 December 2005 20:28 My VEQC is followed by an [b |
API 2500[/b] and to my ears it sounds great! Especially on the low end !! But i am not a ME , just a little recording guy |
lagerfeldt wrote on Mon, 12 December 2005 12:11 |
It's okay to be little as long as the music sounds big, right? |
ammitsboel wrote on Mon, 12 December 2005 18:37 |
Has anyone tried mastering with the Joemeek compressor? I think the Joemeek idea could be very appropriate for mastering. |
lagerfeldt wrote on Mon, 12 December 2005 13:11 |
You are so modest It's okay to be little as long as the music sounds big, right? Interesting with the VEQC, I've never heard of it before. The API 2500 is a jewel though. |
SEBATRON wrote |
Posted: Sat May 21, 2005 12:36 pm The THORAX comp circuit is a major evolution of the VEQC comp circuit. Although both are optical in nature and driven by Class A discrete circuitry. How do they differ? The THORAX comp circuit has a much wider dynamic range allowing it to react over a wider range of signal level and conversely attenuate ( compress ) over a wider range.The THROAX also has greater flexibility in adjusting the compression time dependant curve because of the extra parameters available to the user…. Namely the Attack and Release parameters which have been factored ( or spread ) out over the three-position A/R toggle switch….from fast to slow ….. Additionally the THORAX compressor is faster than the VEQC meaning that it can operate in a peak mode more effectively and is desirable in certain percussive situations….. On the other hand the VEQC is in its own class of units ,, and fills a void here.It's a stereo based valve EQ/Comp/Exciter. Drums in particular are really interesting when sub-grouped through this unit. The circuit anomalies seem to create more of a 3-D image to a premix. I used to sub group just kick and bass through the early prototypes in sessions and just that could totally change a mix. Mono in but Stereo came out. The passive E.Q network is great for chomping out a big mid section of frequencies and highlighting upper harmonics generated in the valves with the variable Air feature…The two mid bands are unfortunately quite close together so sometimes it can be a let down if you need to be a bit more surgical. However , it’s not really designed to be such a box. Like I say ,, more of complete set of E.Q and Comp that acts either subtly or destructively to create sound timbres not really attainable on most current gear. It can get you to a place real quickly once you get a feel of the signal path. Don’t buy it if it’s your only compressor ,, but if you own many compressors and you only use this one then you would definitely have your own sound. The VEQC will be upgraded shortly with the same THORAX comp circuitry. I suggest hanging out for that. Quote: So please ramble at length THORAX Transformer balanced input. D.C valve filament for quieter operation. Anodes driven by H.T rail. Voltage selector on back for 110/220 vac operation. Complete Steel box and front panel …. No Aluminium. Discrete Class A circuitry throughout. No intergrated circuits. All parts readily available. Mic pre: XLR inputs on front and back. D.I input for a wide range of impedances. Switchable phase , phantom and a three way attenuating pad. Air and Deep for upper and lower spectrum control. Variable Colour control . Variable output level. Compressor: Optical attenutaion …. feedback compression. True bypass also shunts off detection circuitry . Variable colour and gain selectable via the ‘drive’ control. Compression timing constants spread over a three way toggle. Variable output level….blah blah ….. Metering: Switchable and variable for different situations …. High , med , low ranges . Preamp and Main output levels. Gain Reduction. The THORAX can also be thought of as two vmp channels linked up with a dynamic dependant attenuation circuit ( compressor ) patched into the middle of the last quandrant . You see, ,, the approach was not preamp then add EQ then add a Comp section…. It’s setup around a totally discrete signal path with the various passive networks ( EQ/Comp) added as tangental signal modifiers that don’t impede the quality of the signal at all. That’s why when you kick in the Comp section of the THORAX there is absolutely NO signal degradation. The E.Q is deliberately targeted at frequencies that are hardest to manipulate using digital E.Q./ plug ins etc …. These two points ( air and deep ) are the ones that make the analogue gear worthwhile….. the valves , the passive networks …. With the variable colour and E.Q functions you can get some very inspirational tones and flavours. The D.I can be a killer for bass and guitars and being able to immediately dial in a bit of compression makes it quick and reliable to use. Vocals can be softly compressed with a nice slow attack/release or Squashed quite effectively when compression times are shortened. At the highest Ratio , you can scream and then whisper into the mic and the meter will barely move. If you want to really squash , to go further , try the drive control in ‘ Hot ‘ mode. |
zetterstroem wrote on Tue, 13 December 2005 01:09 |
i din't have a studio to work in these days..... (as you know) |
zetterstroem wrote on Tue, 13 December 2005 01:09 |
and anyway i don't like sports... |
cuesonic wrote on Sun, 05 February 2006 16:56 |
Hi all I have used a side chain comp with a hpf 120hz leaving the rest of the mix alone, this has helped me really tighten the bass line and electro kick in some dance stuff i've been mastering. |