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This is a simple easy to use one, and now, it does have a lot of parameters if you want to get into it, but what I like about it is you pull it up, and it sounds awesome right off the bat. So I like to use tape saturation for this model tape machines here. So in this case, usually, on my drum buss, what I’m looking to try and do is just glue the things - the different tracks together.
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If you can think of some kind of EQ curve that you want to dial in, you can accomplish it with this plugin.Īlright, let’s go over here and look at my drum buss. Do you want it to be narrower, wider, this kind of thing, asymmetrical shapes, you name it. You’ve got these different bands that you can get - you know, get the setting how you’d think you’d like it, and then experiment a little bit. Then you’ve got this dropdown menu if you want to dial in specific models of EQ curves, from the SSL style, to API style, Neve style… Right? So that’s what you would typically find on an EQ, in addition to those controls. So parametric equalizer, where you’ve got control of the gain, control of the Q of these different things, and then also the frequency. Then, on the extreme other end of the spectrum, if you’re trying to really tweak things, this is the Waves H-EQ. Just tweaking about three or four different knobs.
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Let’s use it on this electric guitar and I can show you in just a matter of 10 seconds how I can dial in a sound to kind of take out the harshness on the top end and give it some mid-range clarity, and then beef up the bottom end. Right? If you’re just starting from the factory default settings when you pull it up. Let’s go over and look at some other categories of effects. If you’re trying to achieve whatever kind of compression sound you want, you’re going to be able to accomplish it by using this plugin. Then if you want, on the stereo version, you can decide if you want it independent - the two left and right channels to be independent from each other, or have some kind of crosstalk with some shaping with it. On the detector circuit, you can decide whether you kind of want to beef it up or if you want it to be normal, and then you can do feedback and feedforward kind of compression. On top of that, then you can really dial in the sound by using things like the threshold for the knee, whether you want it hard, medium, or soft. You’ve got fixed release settings, and you’ve got variable release settings. You’ve got all of these different parameters, like threshold, attack, ratio, and release that you would find on almost every compressor. It’s on a whole other end of the spectrum. Here’s an example of a compressor or a limiter that I like to use. So right? If you’re sitting there in the studio, and you’ve got a client there, and they ask to bring it up to reference level, do some quasi-mastering to it, pull up this plugin and it’ll help you get 90% of the way there.īut it might not be the best limiter to use on the track in the end. So on my mix buss, it’s just a matter of turning it on and turning it up, and it’s just going to make things louder. This is the One Knob Louder plugin from Waves. So what I’m going to do is go through several different categories of effects and show you one plugin that helps me get fast results, and other ones that I can use to dial in the sound as much as I want. Other times, I’m looking for a plugin with a bunch of different parameters that I can tweak to dial in the exact perfect tone. What I’m going to be doing is a side-by-side, compare and contrast between some of my favorite plugins that I use on almost every session that I work on, with the idea that sometimes, when I’m pulling up a plugin to process a signal, what I’m looking for is a plugin that helps me get simple, easy, fast results. So if you want to get your hands on this one and other ones, make sure to check that out. The demonstration I’m going to be showing you here is actually taken from a multi-track session that we’ve worked on over at Mix Practice.