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McDSP AC 1 & 2 plugins - worth it?
- Thread starter Dr. Jeep
- Start date
I use the TDM's all the time and they are great. Unfortunately the LE version sucks:
1.) You only get the "vintage" tape emulation, which will rob you of lows and highs. Trust me, 95% of the time you will want the "modern" tape sound on AC2.
2.) Fixed at 15 ips. Granted, this isn't as obnoxious as #1 because most people interested in the sound of analog tape are doing rock music and this is the speed to go... but still it sucks.
3.) Tape bump (i.e. "bass boost") is fixed at 50%.
There are a few more downsides to the LE version compared to the TDM version.
1.) You only get the "vintage" tape emulation, which will rob you of lows and highs. Trust me, 95% of the time you will want the "modern" tape sound on AC2.
2.) Fixed at 15 ips. Granted, this isn't as obnoxious as #1 because most people interested in the sound of analog tape are doing rock music and this is the speed to go... but still it sucks.
3.) Tape bump (i.e. "bass boost") is fixed at 50%.
There are a few more downsides to the LE version compared to the TDM version.
Sorta....
PSP Vintage Warmer is supposed to be nice. There was another VST that came out as well that is supposed to be ok but I forget the name.
Honestly, just buy the full version of Analog Channel. You can use the RTAS version of it in ProTools LE. The McDSP version has RTAS and TDM versions... you just don't get to use the TDM.
I use Analog Channel a LOT. I use it on every song I record, mix or master. In fact, I use AC1 and AC2 on **EVERY** channel in a mix AND on the stereo mixdown buss! By the time I'm done using Analog Channel I have anywhere from 3-5 Accel Chips taken up by it.
But then again I'm insane.
PSP Vintage Warmer is supposed to be nice. There was another VST that came out as well that is supposed to be ok but I forget the name.
Honestly, just buy the full version of Analog Channel. You can use the RTAS version of it in ProTools LE. The McDSP version has RTAS and TDM versions... you just don't get to use the TDM.
I use Analog Channel a LOT. I use it on every song I record, mix or master. In fact, I use AC1 and AC2 on **EVERY** channel in a mix AND on the stereo mixdown buss! By the time I'm done using Analog Channel I have anywhere from 3-5 Accel Chips taken up by it.
But then again I'm insane.
The thing to keep in mind is that this plugin is SUBTLE. Most of the differences between analog tape and digital recording are not as NIGHT AND DAY as the pundits would like you to think (not anymore since digital has improved).
Put it this way: if you put AC1 and AC2 onto your mix buss (and only that) you will not go WOW THAT'S SUPER AMAZING! Chances are you'll be like the intern we have that did that and went: "wow, I don't hear much difference at all...." Of course, if you pull up a vintage tape formulation and slam it to tape compression hell you can't miss the changes--but the changes are usually for the worst.
After spending a lot of time with this plugin--I've used it on almost every channel of every mix I've done for the last few years--I have came up with a number of observations about using Analog Channel:
1.) Setup your channels like you would in an analog setting. AC1 (the console) before the tape (AC2) on all channels. Depending on how you envision your session you can place AC1 first, the rest of your pluggos, and then AC2 (emulates a more 'mix it as we record' vintage/British style of recording), *OR* run AC1 into AC2 (to simulate a more modern approach).
2.) As a general rule AC2 should be set identically from channel to channel across the mix. This adds that sense of homogenity to the mix a tape machine will offer.
3.) Be extremely careful with the bass boosting "head bump" function on your channels. I generally run this at 0% because it can build up badly once you've summed together 24+ tracks. If I'm looking for that expanded low end response from AC I will save that for the master buss. In general a 25-50% head bump is about all you need.
4.) Don't drive into AC1 or AC2 too hard as it will compress and distort like the real hardware. There is a reason that over saturating tape or really slamming the console was rarely, yet deliberately, done. Choose your settings wisely! Don't go overboard.
5.) A lot of times it is most effective to mix with AC *OUT* of the mix. That way you maximize your mix before adding that extra depth and fatness.
6.) I find it best to simulate one type of analog machine that material was tracked to, and a different model that is being mixed down to. My standard choices are track to the Studer model, and mixdown to the Otari or Sony model.
7.) Be careful when messing with under or over biasing. Choose this deliberately for an effect, or to recreate the sound of a particular engineer, album or studio.
8.) Best of all is to have fun. Analog Channel is one of the more fun plugins out there because of how creative you can get with it.
Put it this way: if you put AC1 and AC2 onto your mix buss (and only that) you will not go WOW THAT'S SUPER AMAZING! Chances are you'll be like the intern we have that did that and went: "wow, I don't hear much difference at all...." Of course, if you pull up a vintage tape formulation and slam it to tape compression hell you can't miss the changes--but the changes are usually for the worst.
After spending a lot of time with this plugin--I've used it on almost every channel of every mix I've done for the last few years--I have came up with a number of observations about using Analog Channel:
1.) Setup your channels like you would in an analog setting. AC1 (the console) before the tape (AC2) on all channels. Depending on how you envision your session you can place AC1 first, the rest of your pluggos, and then AC2 (emulates a more 'mix it as we record' vintage/British style of recording), *OR* run AC1 into AC2 (to simulate a more modern approach).
2.) As a general rule AC2 should be set identically from channel to channel across the mix. This adds that sense of homogenity to the mix a tape machine will offer.
3.) Be extremely careful with the bass boosting "head bump" function on your channels. I generally run this at 0% because it can build up badly once you've summed together 24+ tracks. If I'm looking for that expanded low end response from AC I will save that for the master buss. In general a 25-50% head bump is about all you need.
4.) Don't drive into AC1 or AC2 too hard as it will compress and distort like the real hardware. There is a reason that over saturating tape or really slamming the console was rarely, yet deliberately, done. Choose your settings wisely! Don't go overboard.
5.) A lot of times it is most effective to mix with AC *OUT* of the mix. That way you maximize your mix before adding that extra depth and fatness.
6.) I find it best to simulate one type of analog machine that material was tracked to, and a different model that is being mixed down to. My standard choices are track to the Studer model, and mixdown to the Otari or Sony model.
7.) Be careful when messing with under or over biasing. Choose this deliberately for an effect, or to recreate the sound of a particular engineer, album or studio.
8.) Best of all is to have fun. Analog Channel is one of the more fun plugins out there because of how creative you can get with it.
Thanks for the tips! Yeah - When I recorded my old band's EP at Luminous Sound, we put all the drums and guitars to a Studer reel - made things sound very rich without being obvious - I guess that is the beauty of tape compression. Everything went to master on 2 reels as well. Do you think that this is the closest way to get that analog sound while mixing in the box? In other words - will this help eliminate that flat, cold, digital sound I get after I am done with my mix and put it to CD?
I used a Ozone plugin the other day to simulate mastering for a session I am working on - and it sounded so much richer and deeper. I said to myself, had I known it would sound "bettter" I would have liked to mix it with this as the output - roll of some high end etc. I guess what you are talking about is getting more of the idea of a finished mix WHILE you mix?
I snagged a copy of PSP Vintage Warmer - don't know if I can use a similar approach, but I will try tonight. Basically, I am sick of not being able to get the best sound I can. I will probably get the AC stuff within the near future.
I got a question about drum submixes if Cloneboy can help me out?
I used a Ozone plugin the other day to simulate mastering for a session I am working on - and it sounded so much richer and deeper. I said to myself, had I known it would sound "bettter" I would have liked to mix it with this as the output - roll of some high end etc. I guess what you are talking about is getting more of the idea of a finished mix WHILE you mix?
I snagged a copy of PSP Vintage Warmer - don't know if I can use a similar approach, but I will try tonight. Basically, I am sick of not being able to get the best sound I can. I will probably get the AC stuff within the near future.
I got a question about drum submixes if Cloneboy can help me out?