I mix on yamaha hs5’s with the hs8s sub Crossover about 84 hz I also like to push my preamps and use the output knob to turn them down Same for drum bus but hp side chain on plug-in about 200hzĪll plugins are uad Except obviously the fab plugins and the desserts Slates version of g bus Same as 33609 Slow attack tho and fast release Sc 200 in pluginĪll vocal busses go to busses and I use the neve 2254 For about -2db Neve 33609 - 2:1 slow attack 100 or auto release -2db to -4 I’ve been experimenting Either the 1176 being after all the compressors Or even the last in the chain Mono for plate verb Or Stereo for a longer hall etc Stereo or mono widener I use Antares doubler Blend in Mono distortion (pre fader) DECAPITATOR ? U pick the dist mode 6-10 on drive Hp 100 Lp 12-16k Blend in Mono parallel comp (pre fader) La2a silver or any 1176 Crush it Blend it Sends(the order does matter) and if it’s mono or stereo sends Then pultec eqp1a Boost at 4K shelf Wide bandwidth Or boost at 12k more narrow sometimes Pultec meq boost at 4000 Boost at 200 or 700 U can push the fuck out of the pultecs Or I use pultecs or maybe even both cuz again I like The control of the ssl SSL e channel strip Use the brown knobs (more musical ?) I like this because it gives me the choice to narrow on specific frequenciesīoost either 400 ish or 800 ish Hard to pick sometimes I prefer 400 Will use multiband if necessary Specifically a band from 0-600 ish hz To get rid of any mud that compression can add Tube tech cl1b(not mk2) 2:1 -3 to -6 Attack and release vary
#Softube cl1b mk2 manual
The last part of the chain is a compressor at the end of the reverb and delay that is sidechained to the vocal so that the delay and reverb doesn’t muddy up the vocals.Ģ51 into neve 1073 or a Avalon 737 into Apollo 圆Įither trim or use clip gain (make peaks -18db)ġ176 reve ae or 1176 on rev e 12 ratio or 4+8 on reve ae Doing about -3b on peaks Slowest attack and I adjust release but it’s mostly fastestĭistressor 6:1 doing about -6 to -12(even in the manual it states the first like even -6db is unnoticed) Dist 2 or 3 Att and rel varies Using a dynamic EQ means that I can still set large EQ curves, but I can set the threshold so that it’s only active when it’s needed.įrom there, I set the vocal out to a vocal bus -> vocal aux (to affect all the vocals together if there’s more than one) then send to a delay and a reverb, and then send the delay to the reverb as well. It just depends on what it needs.Īfter the compressor I will add a dynamic eq if it’s needed.
![softube cl1b mk2 softube cl1b mk2](http://callpotent457.weebly.com/uploads/1/2/6/1/126160652/276649878.png)
Sometimes I make that chain with two plugins, sometimes I do it on an SSL E-Channel. EQing into the compressor, IMO, is easier and I can avoid anything that could cause the vocal to sound too compressed in the areas where I boost the EQ. It adds some nice color and gives a warm feel before any other mixing occurs.įrom there I add an EQ then a compressor, but I adjust the compressor first then go back and adjust the EQ.
#Softube cl1b mk2 free
I use a few different ones, lots of free stuff, but I usually start my chain with either a tube saturator or preamp emulator, then I put a tape saturator on my stereomix aux to emulate recording to tape.ĪLL OF THIS IS MIXED IN VERY LIGHTLY. Many modern recordings use mics and preamps impart very little color, so starting with saturation can help emulate analogue consoles.