Yllet wrote:Some love here for the GMC LF (German Mastering Console by Alexb), great round and tight low end. Works wonders on bass and kickdrum, as well as whole mixes where the low end is a little bit lacking.
fuseburn wrote: Out of curiosity: one machine I never really got into (and, as a result, didn't really find my own uses for) is the Sony. Anyone making use of the Sony? I don't even really recall getting much of a feel for it when I was more actively experimenting with R2R.
I play with the Sony for effect but have yet to actually use it. I expect to use it in the future to create a really old school black metal or punk sound, really gritty and lo-fi. It has extreme character. I need to play with it more on individual tracks and groups but on the master bus, it can impart a fantastic from grime that has a definite place.
The Sony is fantastic on guitars in certain cases, or things that are more 'low mid to mid' range sounds where its in the best interest of the mix to take away from some extreme fidelity on synthesizers.
It may sound tedios, but I try to go through every single R2R library, on every single sound for every single mix until I really knew what to grab and where.
Recommendations are great to a point, but you still really should do that to until you 'know' what to reach for.
Overwhelming, yes, but this is one of the strongest libraries for radical and beautiful tonal changes to date.
I know this will sound limiting to some, but to keep my music more authentically analog, I tend to try different tape machines on tracks within a song, but when I decide on one, I use slightly different settings of the same machine (usually) for an entire song. To my ears (after MUCH) testing, my music sounds more cohesive and "together" using this method, and I think that is because if I were to work in an actual analog studio and tracking onto tape (which I have done for over 20 years), it's usually onto one, or rarely two, machines. The R2R library is an amazingly versatile and deep collection, and I can totally see how some people can use them more like tone-shapers or subtle eq's. But my ears tell me to use them more for recreating the analog signal path that I used to use. I HAVE, though, used the lower fidelity machines for individual tracks, but sparingly. This ends up like tracking certain insruments in a separate studio, which is also common in the analog studio days. But my best sounds seem to come from the tightness and gluing quality that I get using 1 tape machine within a song, and get the subtle character differences by using different settings, different instances of TB+, different eq's and preamps for stereo doubled parts, etc. I just wanted to share my style with the community. I am not saying that it is better than anyone else's work-flow techniques, I am just sharing.
I too love the NAG tape. Having less options fits very well with my described purposefully limiting approach. Sometime limits are actually liberating. But Michael's R2R library has some equally brilliant sounding tape machine emu's, so I still use some quite a bit. I tend to have a few of those I go to mostly, like the Studers and Otaris, and some others for odd color and interest. But like the last post, I have been using the NAG more and more, especially for an emulation of a second pass to tape, like a batch render of all tracks after eq-ing and some processing. This seems to give a great glue and density. NAG is also great on a mastering chain, or just on the master buss for a mix-down.
I also use R2R in a 'single environment-structure', to get a specific sound for a song. I mostly use the Studer, Otari (499), or Revox (499) for tracking/rendering, all at 15ips. The different gain programs do have an effect on the high and low end, in a pleasing manner. The TB+ is a must have, for additional gain. I'm only waiting for CDSM's VTM to port to OSX.
dpclarkson wrote:I'm only waiting for CDSM's VTM to port to OSX.
He recently released a new sampler product (non-Nebula related) that is for both platforms, and the beta I tested works solid for OSX in Logic and Ableton so I wouldn't be too surprised if the port will come sooner than later.
To whom ever suggested the Revox 499, great suggestion. Its awesome for dance music, and I'm surprised it adds some magic mojo to the master buss.