Uad Plugins Bundle Us Dollars
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Good morning children, today we are goingto look into the mouth of a given horse.
Uad 2 Plugins
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Namely, we are going to explore and learnthe Analog Classics bundle that came freewith your Universal AudioApollo Interface. Enjoy it.
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The Analog Classics bundle features a bunchof great plug-ins from UA includingPultec Pro EQs, LA-2and 1176 compressors,a nice channel strip called CS1 and a reverbcalled Real Verb Pro, that's all pro.
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Let's look at thePultec Pro first.
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Ever since it was invented in the fiftiesby a company called Pulse Technology,also know as Pultec becausePulse, Tec, Pultec.
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Every studio worth their salt is supposedto have a bunch of Pultecs in their racks,and now you do too,in your virtual rack.
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Now, what's special about a Pultec EQ?Let me show you.
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The main reason why the Pultec Pro has been sopopular for so many years is because of the sound.
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The transformer-tube-transformerdesign is actually so smooththat it is hard to screw up when youeq something with a Pultec Pro.
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The ease of use isthe other feature.
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The plug-in that UAD gives youin the Analog Classics bundleis actually a combination of twopieces of hardware emulations.
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There is the MEQ-5 and the EQP-1A.
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The MEQ-5 was a standalone piece ofhardware designed just to eq mid-range.
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And then EQP-1A was forthe highs and the lows.
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UA smartly put ittogether into one plug-inso you can eq the whole rangewith just one piece of gear.
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For those of you haven't used a real Pultecor haven't used the Pultec plug-in beforeit can be a little confusing as towhat does what, where, when, why.
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Let me show you.
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The top half of the plug-inis the mid-range MEQ-5.
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Here, the two controls on theleft are actually the low boost.
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Most EQs you mayhave used so farwill let you cut and boostwith the same controls.
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Here no, it's different. Here you havea peak control and a dip control,which you can use at the same time,which means you could theoreticallyboost and cut the same frequencyat the same time. It's fun to do,you should try it.
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So here on the leftwe have the peak,you can choose yourfrequency here,very broad range.Here's your dip,200, 300, 500, 700, etcetera.
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And here on theright is your peak.
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So this two work together,this two work together,and this two work together.
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So, low mids peak,a dip control that you canrange between 200 and 7k.
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And a peak controlfor the upper mids,1.5k to 5k.
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That's the MEQ-5.
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Let's look at the bottom half of theplug-in, the EQP-1A.
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First, bypass button right here.
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This is different from here becausethis only bypasses the mid-rangeand this bypassesthe low and highs.
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And here, thisbypasses everything.
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Important to know.
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The EQP-1A controlsare slightly different from the MEQ-5controls otherwise it would not be fun.
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These three controls here are for thelow end, you pick your frequencyand you boost it or you cut it.
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As opposed to the MEQ-5 where youcan pick a frequency for peakingand you can peak adifferent one for dipping.
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Here, you just pick onefrequency and you boost or cutfrom the same frequency.
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It has interestingresults, I'll show you.
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That's the low end right here.
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For the high endit works this way.
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These three controlswork together.
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You pick a frequency, you choosehow much you wanna boost itand you choose how wide thebandwidth of the boost is.
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This is a Q system justlike on a parametric EQ.
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You see the size of the bell on a parametricEQ, this is kind of the same thing.
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They call it bandwidth becausethey want to confuse you.
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This is from thefifties, don't forget.
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And these last two buttonsare the high end cuts.
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You choose your frequencyand you can attenuate it.
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So this is not relatedto this knob here,it's related to this knob.
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To summarize.
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These three work together toboost or cut you low end.
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These three work togetherto boost your high end,and these two work togetherto cut your high end.
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Isn't that wonderful?While Pultecs have been considered tobe great on everything, most peopleparticularly like them on vocals, bass andfull program material meaning, mixes.
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So for example here's a wonderful bridge byWill Knox, sound's a little bit like this.
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So it sounds good but maybeit's a little bit dulland a little boomy.
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What can we do? Very simply,the way you thinkabout it is: 'OK...
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it's a little dull maybe I'm gonnaadd a little bit of high end.'So maybe in the 10k range.
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Medium bandwidth to start.
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And then,pick a number out of somewhere.Here we go.
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Without.
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So easy.
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How about a little 5k shine?Like this.
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Without.
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With.
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OK, now there's a little bit ofa mask in the nose down there,maybe we're gonna cut a littlebit of 300 with the MEQ-5and then compensate that adding alittle bit at the very bottom.
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And it would sound like this.
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Without.
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With.
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Easier would be painful.
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Pultecs are also great to makesomething that's not so fatmore fat.
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Or fatter if you have proper English.For example, this bass.
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Recorded direct, not super exciting.
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Can chose 100 Hz band on the EQP-1A,the bottom part, and just raise it.
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Without.
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With.
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It doesn't requirea PHD in science.
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However, here'swhere it gets fun.
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I just boost in 100 quite a bit.
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What happens if I playwith the attenuation?If you listen to the resultof the boost of the 100,you get the fat that you want but youalso get a little bit of the 'mmm' thing.
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Check it out.
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A little bit of cotton right?Check out what happens if Iplay with the attenuationat the same frequency since, if you remember,these three controls are tied together.
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As a reminder, we started flat like this.
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We are here now.
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With just the boost it sounded like this.
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And with the boost and the attenuation atthe same spot.
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Quick easy way to take a directbass and make it sound fat.
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And you can do the samewith all the instruments,bass drums also benefitgreatly from this trick.
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Even some male vocalyou could boost the very bottom and then usethe attenuation to do a little bit of a cut.
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The curve looks alittle bit like this.
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The best way to function whenusing a Pultec EQ is like this.
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Pick a frequency, boost it.
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Like it, or not?If you don't like it, pickanother one, move on.
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There's nothing complicated aboutit and that's the beauty of it all.
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Also there's no graph,there's no visual of what it does whichmeans you're forced to listen to it.
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That's even better.
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Another great way to use thePultec is on the Full Mix.
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To make it sound alittle more spruced up.
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Even when you use it in stereo you onlyget one set of controls for both sides.
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So whatever you do is appliedto both sides exactly the same.
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For example on this trackI hear a little bit of mud. And I hear alittle bit of lack of joy in the high end.
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So, let's put some joy in the high end.I'm gonna pick 16k,full bandwidth because Iwant it pretty broad gentle,and I'm gonna boost it, gently.
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Maybe 16 is too high. How aboutwe go down to 10 for example?Without.
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With.
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It's starting to sound a little more opened.
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I'm lacking a little bit of that shinein the top of the vocal. So maybea little 5k would be nice.Check it out.
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That's nice. Without.
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With.
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I'm digging this. And maybe a little bitof the super bottom. Check it out.
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So, I pick 20, boosted it to really getthe vibe for it, didn't work, pick 30,dug that, that was too much.
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Put it back downand used the attenuation knobto try and do that littlecut and boost at thesame time trick.
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So I get the boost in the super lowsbut I get a little bit of reliefin the low mids area.
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So we started with thetrack sounding like this.
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And now we are here.
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Very simple. Three or four moves andyou go from dull to nice and palatablethat you can send to your mother or girlfriendor dog depending on who you hang out with.
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Next in line in the classicsbundle is the LA-2Awhich is a compressor that's beenaround for longer than I have,you have and we all haveput together collectively.
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What's so special about that?Well, like a Pultec, it's easyto use and it sounds great.
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Again, transformer-tube-transformerdesign with a little bit of a twist.
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In the LA-2A the gain reductionis actually achieved by a light.
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The brighter the light gets themore gain reduction you get.
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I know it sound weird but it's true.Look it up, it's called a T4 cell.
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What is great about the whole light thingis that it gives the LA-2A a certain sound,a certain attack and release characteristicsthat are perfect for bass and for vocals.
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Isn't that wonderful?The original designer,Jim Lawrence,was only looking to makesomething that would allow himto not have to ride a fader all daylong while working at a radio.
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I don't think he was planning to make the anall vocal compressor for the next fifty years.
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But here we are anyway.
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Here's how to use an LA-2A.
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First listen to your track raw, in thiscase we have the Pultec from before.
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Check it out.
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Select the LA-2.
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He comes up. Default setting. Press play.
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Without.
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With.
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As far as I'm concerned this isactually a little too much compression.
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So let's look at the controls.
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We have two controls.
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One on the left called gain, one onthe right called peak reduction.
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It may be a little confusing ifyou are from the western worldand you read fromleft to right sincein most fashions firstyou reduce the peaks than youcompensate that adding gain.
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Which is the principleof compression.
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The original designer decided to put the gain onthe left and the peak reduction on the right.
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We love him nonetheless.
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Here's how you thing about it.You want less compression,take this knob down.
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More compression, you guessed it.
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So, of course, the principle ifyou're gonna over compress like thisis to compensate byraising the gain.
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Sounds like this.
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Without.
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With.
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As you can see, it's hard to screw up,Even with this insane amount ofcompression it still sounds palatable.
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Friends don't let friends compressthat much.
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There's no reason for it. Unless you’relooking for a special effect.
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I would say, for vocal for example,3 to 10 db of compression dependingon how uneven the original take is.
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It's acceptable. Anything beyond that is amatter of taste, you have yours I have mine.
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Will provide you withendless amounts of ABing,meaning listen to one or the other andwondering why you can't hear a difference.
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And that's OK.
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This button right here on the leftUntil you have the supersonic ears thatwill let you hear the difference between3:1, 20:1 in conditions where there'sreally not that much of a difference,leave it in compress.
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Before we move on let me return the settingsto something a little more reasonable.
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Default gain.
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Too much compression obviously.
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Still too much.
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I kind of dig that.
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Check it out without.
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'Till the daylight' and then 'I dance withyour ghost' gets a lot louder.
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This is without.
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Right. You hear the difference in levelbetween the two.
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And now with the compression.
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It's a little too quiet so I'm gonna addsome gain so you can comparewith and without, at the same gain.
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Without.
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With.
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The next plug-in in theanalog classics bundleis the 1176, which is also a compressor.
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What's so special about the1176 that's worth knowing?Number one, it's from the late 60s.Peace man.
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Number two, it's solidstate, not tube.
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Number three, it'svery very fast.
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Meaning, it moves fast and it catchtransients and attacks very well.
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Which is why people love it.Let me show you.
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The 1176 functions very differently andhas a lot more controls than the LA-2A.
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In the case of the 1176,you get more compressionby raising the input levelinto the processor.
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The more level you give,the more compression you getbecause it's a fixed threshold.
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So your threshold is here and then youraise your level into the threshold.
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You also have ratio controls.
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4, 8, 12 and 20.
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The thing that is tricky hereis that even though the 1176 is build asa fixed threshold compressor, it's not.
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The threshold changeswhen you change the ratio,because otherwise itwould be too simple.
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Basic understanding ofthreshold, ratiosand all the concepts like thatare better explained elsewhere.
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What I'm trying todo here is show youhow to make the most of these particularplug-ins for special situations.
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If you raise yourlevel into the box,even though you're gonnaget some compression,you will have to adjustthe output level,so that you don't blow the nextprocessor out of the water.
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So here's how I usually use it.
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I listen to my track flat.
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Then I turn it on withthe default settings.
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So that's obviously too much compression.
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How do you think about it?Very simple. Sinceyou get more compressionif you raise the input into the box,obviously, you're gonna get less compressionif you lower the input into the box.So let's do that.
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Without.
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So obviously nowthe uncompressed signal is louderthan the compressed signal.
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Let's compensate for that.
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Without.
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OK, I'll play it again.
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Listen tothe raw vocal and the differencein level with and without.
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First without.
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With.
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With it's nicely pinned andplaced and doesn't move muchwhich is what we are looking for froma compressor on a vocal for example.
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The other thing that's cool isit adds a little bit of a color.
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A little bit of a tone,a difference in tone.
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The reason for that is that this plug-inis emulating a piece of hardwareand that piece of hardwarehad transformers in it,on the input and the output.
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And transformers are very much responsiblefor the color of a lot of boxes.
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The other controls youneed to be aware about arethe attack and releaseand ratio controls.
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Attack and release kindof speak for themselvesexcept there's alittle of a twist.
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Very fast attackswill let you catchall transients,kill the top of a snare orreally keep something in place.
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Of course it will soundlike you are compressing.
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If you want to have lessof an obvious compressionyou're gonna slow the attack down tolet some of the original sound throughand give it more presence.
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The twist within the 1176 is that7 is the fastestand 1 is the slowest.
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That makes no sense but it makes sense.Same for release.
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Now, how does one think about settingattack and release on an 1176if you are not quite sure?It's pretty simple.Don't touch it.
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That said, if you have a vocalthat's a little spitty,a little too present. Or a snarethat has too much attack,you can speed the attack upby going towards the sevenand it will catch moreof that initial attack.
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If you want more presence andlet more of the sound throughthan you go towardsthe one on the attack.
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Same spirit for the release.
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If you want the compressorto let go faster,so the sound is more natural,go towards the seven.
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If you want the compressor totry and do some level control,then go towards the one.
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In this case,I like the attack and release on the vocal.The default is pretty nice.
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Let's talk about ratio.
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You have four and eight, whichare considered compression,and then 12 and 20 whichare considered limiting.
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As a rule of thumb, if youwant something more gentle,use compression. If you wantsomething more drastic,use limiting.
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For a very detailed overviewof all the settingsI recommend you watch thededicated 1176 video.
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As always, you can usethis on the way in.
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Now you gotta be careful.
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It is very easy to overdoit within the 1176.
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So if you're gonnarecord with it,make sure you are always ingain reduction mode hereand keep an eye on that needle.
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If your needle hangs out most of thetime at minus 20 you're screwing up.
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Also part of thebundle is the 1176 SE.
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Which is, the same controls,the same principles, the sameemulation, it's just coded differentlyso it's more efficient with DSP so youcan use more of them with your Apollo.
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I personally wouldn't say that onesounds better than the other,but they do sound a little differentso you must listen carefully.
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Next in the fantastic list is thelittle know CS-1 Channel Strip.
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When you first open the CS-1 itcan look a little overwhelming.
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Specially considering all the controlsthere are and what the presets sound like.
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But fear not, we can do better.
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First I recommend you turn offthe delay modulator, here,and the reflector. Here.
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And now it sounds like these.
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Ah!So, what is this plug-in?Think of it as your channel of a console.That's really what it is.
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You get an EQ here on top, thanyou get a compressor here.
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And then you get some coolspecial effects after that.
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Let's go over the EQ first.
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This a 5 band fully parametric EQthat's very transparent. Very clean.
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Every band has full control,gainfrequency,All the bands overlap.
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Which means that if youwant all five bandsto hang out in the60 to 80 Hz rangeyou can do it.
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I wouldn't do it, but you could.
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Things to know:Every band has an on/off button.
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Make sure these are on otherwise you'renot hearing anything that you're doing.
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Also,the bottom band here canbe a high pass filterwhich is practical whenyou're tracking vocals,you can remove the bottomrumble end stuff like that.
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This is really great.
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When you're in high pass modeobviously the gain does nothingbecause you're just filtering. It'sno longer an EQ, it's a filter.
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The top band can bea low pass filter,which also can be very usefulfor very bright things.
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And some of these bands canbe turned into shelving.
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So for example, the bottomband is now a shelf EQ.
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What I would recommend you dois probably use the bottom bandas a high pass filterand the second band hereas your shelf EQ. As theyallow you to do very smartly.
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So you have five bands,which you can configure for verypractical tracking or mixing setup,of a high pass, lowshelf, mid parametric,high shelf and low pass.
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Each band having it'sown bypass button,and a general bypassfor the entire EQwith an offset right here.The offset is great.
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A lot of EQs don't have offset.
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Say you boost a lotinside the bands,you're gonna end up with a lot more level.How do you compare at the same level?Well, you could usethis Output offsetand this Bypass button tocompare at equal level.
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Same if you cut a lot, you canboost the output. That's great.
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Also,this output button,makes sure that youdon't have to killthe input of the compressorif you do a lot of equing.
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Next is the compressor.
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It's not trying to be an LA-2or an 1176or any existing hardware compressor.It's its own thing.
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It compresses. If the signalis too loud it brings it down.
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This is how it works.
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The first thing to dois to set your ratio.
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I recommend you try 3:1.
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Because 3:1 never killed anyone.
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Ratio is how much compression is gonnahappen when you are compressing.
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Then set you threshold basedon your signal level.
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The threshold decidesat which levelthe compressor is gonnastop compressing.
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So the ratio decides how much compressionis gonna happen, when it compresses,and the threshold decides at whichlevel it starts compressing.
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Which is different from theLA-2 and the 1176. Right?LA-2, you just decide howmuch compression you want.
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1176, you raise the level into thecompressor to get it to compress.
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Here, you lower the threshold until youhit the point where you want compression.
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You get the hang of it.
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This compressor is a little differentbecause it has auto-gain built-in.
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And you can't turn it off.
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What is auto-gain?Auto-gain is your compressorautomatically compensatingfor the amount of gain you'relosing because of compression.
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Think about it for a second.
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Yes.
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So.
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It's different fromtraditional compressors.
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Think of it as one lessknob to worry about.
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Before we go any further let's start processingWill's vocal with just the channel strip.
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I'm gonna turn the bottomband into a high-pass.
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And then I'm gonna removea little bit of the maskat 200 I think.
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That's too much.
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Without.
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With.
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I little bit of shine on top.I'm gonna turn this into a shelf.
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Right here. And make it shine around 20k.
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I'm gonna low pass at 20k to make surethere's nothing garbagy up there.
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Without.
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With.
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That's acceptable to me.
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Then we're gonna turnthe compressor on,switch to 3:1,and lower my threshold untilI hit just what I want.
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You see it with theneedle moving.
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So I think it needs to startcompressing at lower levels,a little bit, just a few dB.
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Let's go crazy.
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You will notice that even though I'm notat 17 dB on the threshold control,the level is not loweringlike it was with the LA-2.
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That's because of theauto-gain feature.
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Let's go further.
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I'm starting to hear unnaturalsounds on the breaths. Check it out.
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Without.
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I'm gonna, probably be less brutish.
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That's acceptable to me.
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Just like on the 1176 you haveattack and release controls,same principle.
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Except here faster is to theleft, slower is to the right.
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Leave them as default untilyou really get a feel for it.
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But again, more presence,slow the attack down.
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More clamping down thetransients and the fast attacks,speed the attack up.
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Why, might you ask, is thereand output knob if there'san auto-gain feature?Very good question,thank you for asking.
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It's because A, the auto-gain featureis not necessarily perfect.
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Two, that let's you control thegain stage of the entire compressorand the entire chain so farinto the next module which is,the delay.
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Next is the delay modulator.
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Which should be calleddelay and modulator or,actually more accurately, delayor modulator. Let me show you.
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Let's turn it on.Sounds like this.
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But it could also be useful if youtweak it a little bit. Check it out.
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It has several personalitiesjust like your ex girlfriend.
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Chorus, Chor180, QuadChr, Flanger,Flanger, Dual Delay and Ping Pong.
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So, right now we arehearing the Chorus.
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But we're also hearing somedelays at the top of the chorusand it's all kind of complicated.This is how you think about it.
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First things first,if you're gonnabe in Chorus modemake sure you lower the delays hereso that you can hear what's going on.
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Ah, Chorus.
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Then, if you are in chorus mode,you have the rate.
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And the depth.
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Super pleasant.
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If you wanna get really tweakyyou can actually changethe shape of the waveformthat is the modulator.
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But we're not that kind of girl.
00:28:12
Here's our thought process.
00:28:13
A, pick your effect. You want a chorus,you want a delay, you want a flanger.
00:28:18
Second, make sure that, ifyou are not using delays,that delay settings are short enoughthat you actually hearthe process that is supposed to be.Like I showed you earlier.
00:28:26
Third.
00:28:28
Choose your wet to dry mix.So, what does that mean?How much of the effectedsignal do you want.
00:28:35
Versus the dry signal.
00:28:38
Now, what's this negativewet/dry signal about?It's the same, it's the ratioof wet versus dry but,the wet signal has it'spolarity inverted.
00:28:48
And I'm sure you can findsome use for that one day.
00:28:52
Next, you notice here that we have leftdelay right delay, left pan right pan.
00:28:56
That's because this plug-inalso works in stereo.
00:28:58
In this case it's a vocalso it's just mono.
00:29:00
But, if you were in stereo you couldchoose the width of these effects. Also,here you have somethingcalled 'Recir'.
00:29:07
It's not french, no no no,it's called recirculation,which most otherpeople call feedback.
00:29:12
So the recirculation control isthe feedback control you know.
00:29:16
And then 'Damping'. That's pretty cool.Let me show you on a delay.
00:29:20
The delay mode is called 'Dual Delays'.So you guessed it, we have two delays.
00:29:25
The time for the first delay is here,the time for the second delay is here.
00:29:28
As I just mentioned, if youwork in stereo you could choosethe left and rightpans for those delays.
00:29:33
Now check it out.
00:29:34
For vocal I like shorter delays to tryand create a little bit of a balance.
00:29:40
Maybe shorter.
00:29:43
OK. And then, less of the mix.
00:29:50
That's interesting.
00:29:52
The dampingis really a way to darkenevery other occurrenceof the delay.
00:29:58
Meaning, as the delays repeatthey get darken and darkerlike the old tape delays did.Check it out.
00:30:05
This is wide open.
00:30:08
And this is very dark.
00:30:11
You almost don't hear it.If you go in between.
00:30:16
You get that spacebut you don't get the brightnessand the annoying repetitions.
00:30:21
Without.
00:30:24
With.
00:30:26
Maybe a little more opened.And a little shorter.
00:30:30
And this is all built-inwithin the plug-in so youcan make yourself a presetthat you track through in real timeand have all this all ready to go.
00:30:40
As a reminder we startedwith the vocal here.
00:30:46
Now we are here.
00:30:51
And of course this is a little quieterthan the raw signal so I can use the...
00:30:55
offset gain here to compensate.
00:31:06
I strongly urge to explore this menu.
00:31:08
Because it is rare to beable to have modulationand delays built-inin a channel strip.
00:31:13
And it's very practicalif you are mixing fast.
00:31:16
Last but not least,the Reflector.
00:31:19
Let's turn it on. I'm gonna turnthe modulator delay offso you can really focus onthe sound of the Reflector.
00:31:30
The Reflector is a greatearly reflection module.
00:31:33
It let's you mimic thecharacteristics of a small room.
00:31:37
Not the 'shhhhhh' tail,famous in the eightiesand Enya records,but the sound of the room,like are you in the kitchen,are you in the garage,are you in the bedroom?And it's very useful to createspace around instruments.
00:31:49
Especially these days,when most people record everythingway to close to the microphoneand there's nospace behind them.
00:31:55
So having the Reflector on every channelcan be great to give depth to your mix.
00:32:00
Here's how to think about it.
00:32:02
The default isactually pretty cooljust to put spaceinto something.
00:32:05
The first thing you should dois decide of the wet/dry mix,just like you didwith the delay.
00:32:10
With this plug-in, youcould also go intoa polarity inverted modewhich you will also finda proper use for one day.
00:32:17
Here let's go around... 8. Let'splay without as a reminder.
00:32:23
With.
00:32:26
You can hear this coolspace around the vocal.
00:32:28
I'm gonna exaggerate a littlebit so you can really hear itwhile I design the process them bringit back to something more useful.
00:32:34
Let's put it at say 40%.
00:32:36
Without.
00:32:39
With.
00:32:41
You can really feel this happening, right?So.
00:32:44
You have the wet/dry mix.
00:32:45
If you are working in stereoyou have your pans right here.
00:32:47
We're in mono so everything isdefault in 100% tothe left as default.
00:32:52
And then, you have...
00:32:55
the size.
00:32:58
Let me exaggerate a little further.
00:33:02
Smaller size.
00:33:04
You can really hear theroom getting smaller.
00:33:07
Very, very small.
00:33:09
Or huge.
00:33:12
Then you can choose theshape of the room.
00:33:14
Every room has adifferent shape.
00:33:16
So of course, if youclick on the menuit's possible that you have asmall heart attack.
00:33:20
Do not have a heart attack.Just pick one...
00:33:23
listen to it, if youdon't like it move on.
00:33:25
There are no dyingconsequences of not knowingin advance what the shapeis gonna sound like.
00:33:29
I don't, nobody does. Except maybethe guy who designed the plug-in.
00:33:33
We are on the corridor,let's listen to the cube.
00:33:37
Corridor.
00:33:40
Corridor is a little lighter.OK.
00:33:42
How about... Dome.
00:33:48
I don't know, I think Ilike the cube better.
00:33:52
How about a smaller cube?That's usable.
00:33:57
Next control. Recirculation.
00:33:59
Feedback, right? So more of it.
00:34:03
And damping.
00:34:06
So you can make the room darkerand have more reflections.
00:34:09
All these nuances become clearerand more intuitive over time.
00:34:12
Using presets is totally fine andnobody will sue you over it.
00:34:16
Let me tweak it a little furtherso that it sounds better.
00:34:33
Very often you knowyou are therewhen you're no longer sure ifyou have a process on or not.
00:34:38
That means this isintegrated in the trackand not calling attention toitself like for example now.
00:34:42
This is with processing.
00:34:45
And this is without.
00:34:48
Everything feels very forwardwithout, very dry and very demoey.
00:34:51
And with you have alittle more of a space.
00:34:57
And with we add the delaymodulator back on.
00:35:04
That's nice. All in one,EQ, compression, alittle bit of delay,a little bit of early reflectionto give a it of vibe.
00:35:10
All in one plug-in,this track will now fit nicelyinto the bed around it.
00:35:15
Last but not least, the RealVerb Pro.Let me show you the controls.
00:35:20
This reverb attempts torecreate real spaces.
00:35:23
With a twist.
00:35:25
You have a shape controland a material control.
00:35:28
Shape is the shape of the room,material is what coversthe walls of the room.
00:35:32
To give you more control theylet you mix and match shapes...
00:35:36
and mix and match materials becauseno room is perfectly squareand no room is madeentirely of gold.
00:35:43
So.
00:35:45
To keep things simple, Irecommend you start by usingone shape and one material.
00:35:49
For example, let's pick thisshape, and this material.
00:35:55
A reverse fan...
00:35:57
and hardwood.
00:35:59
These two controls hererelate to the different shapes.
00:36:03
The top size control relatesto the size of that reversefan and the bottom size controlrelates to this one but we'renot using it right now.
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00:36:11
Same for material, this is thethickness of the hardwood.
00:36:14
And this would be thethickness of the marblebut we are not using themarble this very minute.
00:36:19
This is what a reverse fan room,of size 56 meters, with 81% ofhardwood thickness sounds like.
00:36:30
OK. This is what it wouldsound like if it was marble.
00:36:36
So apparently marble is thickersounding than hardwood.
00:36:39
Over time you canlearn that stuff.
00:36:42
As I said before,if you are designing yourreverb from scratch,it's easier to use one shapeand one material andthan go from there.
00:36:50
But you can also use presets.
00:36:52
It doesn't hurt. Let'suse a preset here.
00:36:54
There's one I like called Theater.Check it out.
00:36:59
That's nice and I can play withthis and show you how to tweak it.
00:37:02
So this is a Fan and an A Frame,and some plasterand some drapes.
00:37:05
The plaster sounds like this.
00:37:09
And the drape sounds like this.
00:37:12
A lot darker as you would expect.The mix of the two is interesting.
00:37:17
Fair enough.
00:37:18
Next, in the positioning section,here's what you need to know about.
00:37:22
The mix is the mix of wet/dryjust as we saw before.
00:37:25
So less would benice in this case.
00:37:29
As a reminder we started here.
00:37:32
With.
00:37:34
That's nice.
00:37:36
Distance is a very proprietarysystem that let's youactually alter the feeling of distancebetween the subject and the reverb.
00:37:43
You can play with it, it's nota crucial setting for now,but you can play with it if youwanna get really really tweaky.
00:37:49
And you have pan controls,or width controls.
00:37:52
For the early reflectionsand for the late reflections.
00:37:57
Let me show you thedifference between earlyand late reflections so you canwrap your head around that.
00:38:02
Early reflections, as I have explainedbefore, are the sound of the room.
00:38:06
Because when you are inthe room and you speakyour voice hits the walland gets back to you.
00:38:10
The ceiling, the floor, theside walls, everywhere.
00:38:14
The sound of these reflectionsget to your ear and your brainimagines what kindof room you are in.
00:38:20
That's why you can tell where you are inyour house even with your eyes closed.
00:38:24
Your brain reconstructswhat room you are inbased on the early reflections.
00:38:30
So in this case,I'm gonna lower the levelof the late reflectionand we are gonna to listen toonly the early reflections.
00:38:36
Which is this engine right here.
00:38:42
You can choose how late they are.
00:38:46
As a reminder, this is flat.
00:38:49
With.
00:38:51
I'm gonna put a little morereverb so it's easier to listen to.
00:38:58
Now you can hear there'sa little bit of a space,just like we heard onthe channel strip.
00:39:06
You could choose how dense they are,how delayed they are,and how loud they are.
00:39:14
And then you havethe tail also knowas late reflections.
00:39:18
I'm gonna turn theearly reflections off.
00:39:21
And this is the late reflections.
00:39:26
So as you noticed,this is your level.
00:39:28
This is your distance.
00:39:31
Very straight forward.
00:39:32
Same here, this is your levelfor the late reflections.
00:39:35
This is the delay, this is howlong it takes before they hit.
00:39:38
And this is how long they are.
00:39:40
If you want a reallylong reverb you do this.
00:39:49
Tripy.
00:39:50
So, the combination ofearly and late reflectionslets you really shapethe reverb you want.
00:39:56
I don't think we're gonnakeep the 18 seconds reverb.
00:39:59
Let's start withtwo seconds, ish.
00:40:07
I wanna put less of thecombination of early and lateso it's more realistic.
00:40:16
It sounds super natural.
00:40:17
If you remember, I mentionedearlier you haveearly and late reflections stereowidth which means you could havemore centered early reflectionsand very wide late reflections.
00:40:27
All that stuff is very subtleand all the parameters kindof interact with each otherso it can be overwhelming.
00:40:32
What I recommend you do isstart with a preset you likeand just tweak things a littlebit until you get the feel for.
00:40:38
There are more a few couple things youneed to know about RealVerb Pro.
00:40:41
For example, what isthat resonance control?Well, that is more of an EQ thananything else. Check it out.
00:40:47
You can change the rangeof the EQ like this.
00:40:51
You can dampen the high end which is veryuseful for reverbs to make them more discrete.
00:40:55
You can dampen the low end which is very practicalto clear the mud from the mix like this.
00:41:00
And you can also add or remove some midsand really shape the tone of the reverb.
00:41:04
So don't let the word resonance confuseyou, it's really and EQ, check it out.
00:41:09
Right now, it's really dark.
00:41:14
Or brighter.
00:41:19
Of course I can hear you think from here.'Wait, wait, wait!'I can also change the colorwith the material here,and then I can changethe amount here,and I can change the early reflectionsand the late reflections.'Yes, I know. That'swhat presets are for.
00:41:33
Two more things.
00:41:34
One, Morphing. What's that?This reverb lets you morph,basically seamlessly transitionbetween two presets.So for examplea small room and areally big room.
00:41:45
And you go from the smallroom to the very big roomby sliding the slider here. And there'sno artifacts, it's pretty cool.
00:41:51
Let me show you.
00:41:52
So let's pick a couple of presets welike, for example, Large Bathroom,and... Jazz Club.
00:42:00
That's a nice transition right there.
00:42:02
So, we start with Large Bathroom andwe transition to a Jazz Club somehow.
00:42:06
Here we go.
00:42:20
That is one large bathroom.
00:42:23
Two.
00:42:24
Last but not least.
00:42:26
As you've seen, I've been using theRealVerb Pro straight on the vocal track.
00:42:31
And using the mix ratio right here todecide how much of it I wanna hearversus the dry signal.
00:42:36
Another option is to notuse it on the track itselfbut put it on an Aux,on a different track.
00:42:41
And send to it.
00:42:44
Here's my send.
00:42:46
And here's my reverb.
00:42:47
What you need toknow in this caseis that you have to havethe reverb 100% wetso you only hear thereverb on the Aux.
00:42:54
You can also use this cutelittle 'w' button herethat makes it 100% wetautomatically.
00:42:59
This is how it works.
00:43:09
The main benefit of putting the reverb onan Aux as opposed to directly on the trackis that you save DSP.
00:43:17
And also you can send multipleinstruments to it sinceit's a Send system soyou can send the reverband the guitar and thevocal to the same reverb.
00:43:25
Which gives a certainensemble vibe to the sound.
00:43:29
Using it on a singletrack keeps it simple.
00:43:32
That's the reverb for the vocal and youdon't have to worry about anything else.
00:43:35
Your mileage will vary.
00:43:38
So there you have it,Pultec Pro, LA-2A, 1176,CS1 Channel Strip andthe RealVerb Pro.
00:43:45
Everything you need to mix a record ortrack a record with your Apollo Box.
00:43:49
We just skim the surface,if you wanna see morein-depth mixing videosor tracking videos lookelsewhere on the site.
00:43:55
Thank you.Et voilà!
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