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Thread: Eq

  1. #41
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    Quote Originally Posted by JohnnyAmato View Post
    Jkuehlin, have you ever used the Slate EQs- FG-S (SSL), FG-N (Neve), Custom EQ, or his new FG-A (API)?

    Personally, I think they're fantastic.
    I used them pretty heavily when they first came out. I have nothing but respect for Steven and what he's doing with his company. And I think he's a tremendously gifted mix engineer and a great visionary.

    I'll tell you why I don't use them anymore, but this by no means implies that you shouldn't.

    SSL:
    To me, the qualities that made the E,G,K and J series SSL consoles truly legendary has to do with the way the channel strip and summing bus interact as a whole. The reason I never use the FG-S is because I rarely ever use the EQ by itself. Usually what I do is load the entire UAD strip because the EQ gives you a breathtaking sound when the input source is pegging the saturation at the front of the strip perfectly.

    ssl_e_series_collection_thumb__2x-min_2-jpg

    Also, there's something unique about the way the dynamics push and pull on the EQ curve. I can't get that sound with any other channel strip or by stacking slate plugs say Virtual Channel (Brit 4K E) -> Filter -> Comp -> EQ -> Trimmer -> Virtual MixBuss (Brit 4KE) in the Slate virtual mix rack.

    So when I tried to re-create the SSL sound that I know and love using the Slate VMR, the individual components (since they are all pretty much there) didn't give me the cumulative sound that the real SSL strip and the UAD did.

    There's a couple of the SSL's I've worked with in past year. (They're both 9J's)
    ...those pictures are totally a pose (as you can tell from all faders down), but I have spent a good number of years with those boards.

    20180629_221358-jpg

    20180109_145225-jpg

    Neve:
    Regarding the Slate Neve, the lack of surrounding channel strip features isn't a big deal because the actual Neve channel strip is pretty bare. The reason is that going FG-73 -> FGN is usually the reason someone buys a 1073 or 1081 module. I grab the UAD one because I prefer the added oomph of the non-linearities (as mentioned above).

    Custom EQ:
    This one is a VERY amazing EQ. And when I first acquired the bundle, the Hi/Lo lift module was what sold me on the entire slate collection. I probably would have bought it just for this. Sadly, I stopped using it when I picked up the Kush Clariphonic Mk2...it does a very similar parallel EQ thing but I feel I have more control with the Kush. I also stopped using the Slate Custom because I picked up the UAD bundle with the Curve Bender, Millenia, Massive Passive, and Maag. All of those do a HF 'lift' in a real neat cool way.

    I never tried the API....I didn't realize he'd added it! I'll go check it out! Hope this helps a little.

  2. #42
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    Yeah. My old Tascam board sounded like a guitar amp when you cranked it up and played with the EQ. That was fun. I get distortion anytime I want. It's all just filters and nonlinearities and I prefer put them where I need them most of the time rather than letting somebody else decide which goes where.

    One thing I won't fuck with is the fft/fir type "linear phase" EQs. A lot of people love that fabfilter thing, but I see it as resynthesis, which is always lossy and prone to artifacts. They have found brilliant ways to avoid, suppress and generally minimize those things, but I just don't trust it. I'm not really a Luddite, but "minimum/natural phase" has been good enough since we started recording things, and its good enough for me.

  3. #43
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    Quote Originally Posted by jkuehlin View Post

    I never tried the API....I didn't realize he'd added it! I'll go check it out! Hope this helps a little.
    Yea it just came out last week, finally downloaded it a few days ago (I have the Everything Bundle). It's pretty nice, different flavor from the other three.

    I tend to use the 4000 G Series in the Bus Collection more than the others for some reason.

    Slightly off-topic, but how do you feel about his 1176's compared to the CLA's? I mix it up and use both.

    His Virtual Tube Collection is sick (London, Hollywood, New York) You ever use those?

    I haven't made the UAD plunge yet. I've been eyeing the Apollo 8, but I'm still on Windows 7, and I think you need Windows 10 for it. And instead up upgrading my current PC with Windows 10, I'd rather just get a new computer, even though the one I'm on now is still relatively new.

    Most importantly now though, I'm looking at external hard drives for backup. Got probably 30 sessions going right now with no backup drive.

    I do all my subtractive eq with the EQ3 in ProTools, and boosts with all the Slate stuff.

    Sorry, this post was kind of all over the place...
    Pro Tools 12.7 - Superior Drummer 2.0 - Sound Forge Pro 10

  4. #44
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    Quote Originally Posted by JohnnyAmato View Post
    Yea it just came out last week, finally downloaded it a few days ago (I have the Everything Bundle). It's pretty nice, different flavor from the other three.

    I tend to use the 4000 G Series in the Bus Collection more than the others for some reason.

    Slightly off-topic, but how do you feel about his 1176's compared to the CLA's? I mix it up and use both.

    His Virtual Tube Collection is sick (London, Hollywood, New York) You ever use those?

    I haven't made the UAD plunge yet. I've been eyeing the Apollo 8, but I'm still on Windows 7, and I think you need Windows 10 for it. And instead up upgrading my current PC with Windows 10, I'd rather just get a new computer, even though the one I'm on now is still relatively new.

    Most importantly now though, I'm looking at external hard drives for backup. Got probably 30 sessions going right now with no backup drive.

    I do all my subtractive eq with the EQ3 in ProTools, and boosts with all the Slate stuff.

    Sorry, this post was kind of all over the place...
    Haha. My rig is tied up at the movement...I'm bouncing some folds for a movie that I finished a couple days ago. I'm basically stuck while this 2 hour long thing prints...I pulled up that Slate API just for a sec but I really need some more time with this thing before I can comment anything meaningful. I will tell you this though - in my opinion, Slates biggest competitor for a stellar API EQ is gonna end up being the Kush electra. If his is anywhere near as good as that thing, I'll be VERY impressed. But he does seem to get better and better over time at writing code for those emulators.

    I've been listening to demos of the Slate API while I'm waiting for these bounces...but its really hard to evaluate it without turning knobs myself.

    ...on the other stuff, I'd love to throw my thoughts out there, but I'll take it on another thread. Give me a few hours and I'll check back in.

  5. #45
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    Quote Originally Posted by jkuehlin View Post
    Slates biggest competitor for a stellar API EQ is gonna end up being the Kush electra.
    Love the KUsh stuff...have almost all of the plugs, but the Electra and Clariphonic are absolutely stellar.
    I loved the plugs so much that I added the hardware versions to my racks, since I still mix OTB...with a pair of the Electra 19" units, one of the original Clariphonic EQs, and one of the new Clariphonic MS EQs.
    Great stuff.

    Oh...Kush is doing a sale on the plugs right now.

  6. #46
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    Quote Originally Posted by miroslav View Post
    I think there's more to it than just that, and you're kinda going on the assumption that just by changing parameters, you can always get exactly what you want with that EQ and that no others are ever needed or can give you options that you don't have with ReaEQ.
    As a general follow up to the comment above that Miro replied to Ash earlier, a good example of an EQ that the ReaEQ has no shot in hell at emulating is the A-Designs HM2EQ unit. Tubes and 2nd harmonic additive artifacts aside, the thing self-adjusts its Q settings based on incoming program material. Sort of like how the Manley Vari-Mu and Fairchilds re-bias themselves based on signal intensity through the course of a track. This is a good example of how EQ is not just a matter of settings. It comes down to the core functionality and anatomy of the plugin.

    You could make some contorted signal chain I suppose...where you side chain/automate the Q value in the ReaEQ through a bus thats strapped to the Waves Vocal Rider with a parallel multi band tube saturator (like the Waves Saphira) that has every harmonic except for the second order muted. Then you'd also have the use the Waves Q clone to snapshot the curves if you can even it that to work (I don't know how the Q clone would possibly adapt to a floating Q though lol). But like...thing about all the time you burn getting all that shit set up, it that chain still isn't gonna behave or sound anything like the hardware or the plugin.

    So case and point, there really are limits to what you can do with any one digital EQ. It really comes down to studying EQs and what they specialize in. A highly specialized tool is limited in its use, but its just amazingly effective when implemented creatively on a source!

  7. #47
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    Quote Originally Posted by jkuehlin View Post
    ... a good example of an EQ that the ReaEQ has no shot in hell at emulating is the A-Designs HM2EQ unit.
    Yeah...I have that Kush plug too...the Hammer DSP.

  8. #48
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    Quote Originally Posted by miroslav View Post
    Yeah...I have that Kush plug too...the Hammer DSP.
    You gotta listen pretty close to hear what its actually doing. As unique as the design is, it sure doesn't sound that different from a normal EQ lol. I don't think I'd ever pay $2000 the hardware. It took me about a weeks worth of working with it before my ears caught on to the subtle shifts in the floating Q.

  9. #49
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    Quote Originally Posted by jkuehlin View Post
    You gotta listen pretty close to hear what its actually doing. As unique as the design is, it sure doesn't sound that different from a normal EQ lol. I don't think I'd ever pay $2000 the hardware. It took me about a weeks worth of working with it before my ears caught on to the subtle shifts in the floating Q.
    Yeah...I wasn't ever going to get the Hammer hardware either. The Kush plug just came up on a sale, so I grabbed it.
    AFA the Kush Electra/Clariphonic hardware, I'm quite glad I picked it up...great EQs that really let you mold/create, and not just something to use for fixing issues.
    I find them very interesting how unlike a lot of other EQs, where as you sweep around with some decent boost many frequencies will tend to sound ugly and you end up looking for that band that is complimentary to your source...but with the Kush EQs, it's like you're uncovering new tones from the source as you sweep, and any of them can work quite well, so it's more a matter of deciding which direction to take with the tone.

    They just don't sound like most other EQs...and it's truly hard to get something bad out of them. On many other EQs, when you start boosting/cutting by 10-15 dB, it has a dramatic effect, and often you're already getting into the "ugly"...but the Kush stuff just seems to sound good even at more extreme settings.
    Whatever they've done to them...it's great, both with the plugins and the hardware. There's an slightly enhanced quality to the hardware, otherwise, the plugs are pretty close.

  10. #50
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    I loved the slate bundle. The mix rack and tape emu were a lot of fun. I eventually quit though because I was having so many issues with gobbler.

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