Saturation

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jaynm26

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How important is saturation in digital?
How important is saturation in your mixes?
In what ways do you use saturation in your mixes?
#1 Saturation plugin in the biz?
 
I like FerricTDS and TesslaPRO, both by Variety of Sound. They're free (PC only) and do a good job.

When to use saturation? Beats me, tbh. I just use it when it feels right - most often, this happens to be bass guitar and drums but not OH.
 
From a mostly digi guy -(just some 1/4-eight and half tracks early on. Transient control (or cherishing and protection of them!), transformer/analog color is fascinating.
My tack' for color has been to run some pres and/or comps when I can on the way in, and for the most part UAD plugs in the box. But also I haven't tried nor felt the need for the 'tape plugs for example. I do believe a little careful limiting and compression go a long way on it's own.
And c/o Bruce Swedien's comments re transients/compressors and all. -doesn't care for 'compression, but then likes ribbons, and the UAD tube pres -which presumably is a rather soft' path as pres go? I’m curious to try the 610 for that reason.
( .. got some nice compressors, clean pres and the Chameleons’ on the way in for now. So far so good.. :)
 
I haven't done a digital, in the box mix in almost 8 years without some type of console or tape saturation plugin. I consider them to be critical for adding vibe, character and feel to a mix. However, they only accomplish this if the recording and mix is good. They aren't going to "mix" it for you. Literally, they might add 3% to the end product. So, for people just starting out they aren't really going to help a bunch; in fact, they may hurt if set improperly.

Saturation is best done subtly. Back in days of yore engineers strove for the cleanest mixes they could get with available technology. They certainly avoided audible distortion or degradation of the signal. Saturation plugins should be conservatively employed, especially at first. Just a nip of grit and hair are all they need to contribute to the end product. Personally I load all the tracks up with the same "machine" or "console" and adjust level/drive to taste. Percussion usually a little hotter than other elements. I like to have both on the master buss as well. This emulates the signal path/methods of an analog studio, which is what I strive for. I'd rather have things be a little more "authentic" sounding (single console/single tape machine) than ruthlessly optimized on a track-per-track basis. That's just me. Whatever works for anyone else is equally valid. Just make it sound good, make yourself happy, ya know?

There are plenty of good choices on the market these days: UA Studer or ATR-102, Steven Slate VCC/VTM, Waves NLS and KMT are probably the most highly regarded. Waves just came out with their REDD plugin suite which looks very interesting. Myself, I tend to prefer the Steven Slate stuff. The Universal Audio stuff is pretty awesome but I don't have a UAD card at home so that takes them out of the running for me.
 
That Driver freebie from Native Instruments in the Newb's forum that I posted a link to....looks like it might be fun for saturation kind of stuff.

(there's still time to download it for free if anyone missed it)
 
Cloneboy Studio said:
Saturation is best done subtly. Back in days of yore engineers strove for the cleanest mixes they could get with available technology. They certainly avoided audible distortion or degradation of the signal. Saturation plugins should be conservatively employed, especially at first. Just a nip of grit and hair are all they need to contribute to the end product
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I tend to agree with this and generally use my emulation plugins in the same way I use hardware. Keep the levels dancing around 0 VU on the plugin input. Use tape plugins at normal levels and get a gentle rounding off of the spikey transients. use a console emulation to get a little harmonics on a kick or bass to make them more audible in a mix. Push a compressor just a little on the overheads to add a little sheen to the cymbals etc.

I wouldn't run a hardware signal chain that ran at +16dBU into a tape machine, then at +22dBU into the desk, into a compressor at +22dBU and finally back to 2 track master tape at +16dBU. I'd end up with a distorted mushy mess. So I'd keep things around 0VU to try and maximize S/N with minimal distortion and artifacts.
I treat my emulation Plugin chains the same way and just get a little flavor throughout the chain.

I like UAD for tape emulations and Waves for console plus I'm using some hardware comps and EQ
 
i think saturation and soft clipping gives you nice warmth to tracks. Its hard to get it right especially if your purposely trying to get the effect. I think its the 'in' thing now for a lot of producers and engineers to get stuff sounding analogue.
 
I don't use too much saturation. I find it also depends on my mixes.

I usually use the Waves Kramer Tape on my vocals. It is an EXCELLENT plugin. I really recommend it.
 
I look at saturation as away to bring out the harmonics in a sound that make it great. I also look at it as a 3D kinda thing as well. Its not enough to just push a fader up and say "its louder so its in front". I find that a lot of times with drums I get they are LOUD yes, but sound flat. A little saturation or distortion gives them a edge that makes them stand out in a very 3D kinda way.
 
Cloneboy Studio said:
I haven't done a digital, in the box mix in almost 8 years without some type of console or tape saturation plugin. I consider them to be critical for adding vibe, character and feel to a mix. However, they only accomplish this if the recording and mix is good. They aren't going to "mix" it for you. Literally, they might add 3% to the end product. So, for people just starting out they aren't really going to help a bunch; in fact, they may hurt if set improperly.

Saturation is best done subtly. Back in days of yore engineers strove for the cleanest mixes they could get with available technology. They certainly avoided audible distortion or degradation of the signal. Saturation plugins should be conservatively employed, especially at first. Just a nip of grit and hair are all they need to contribute to the end product. Personally I load all the tracks up with the same "machine" or "console" and adjust level/drive to taste.
Click to expand...

The best written advice for saturation..well said Cloneboy
 
Saturation is for bringing out harmonic content and for softly managing dynamic range. A little goes a long way, unless it's an effect, of course.

Cheers :)
 
Massey-Tape Head plug in. May just be for Protools, not sure if he is making them for other daws.
 
Having saturation on digital recordings is hugely important. Makes them sound musical and less harsh. Waves NLS, kramer master tape and slate Vtm are some of my favorites.
 
Hesh said:
Having saturation on digital recordings is hugely important. Makes them sound musical and less harsh.
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If your recordings sound "harsh", you might want to re-consider your tracking techniques. As stated above, digital doesn't sound "anything". It accurately reproduces exactly what you give it.
 
RAMI said:
If your recordings sound "harsh", you might want to re-consider your tracking techniques. As stated above, digital doesn't sound "anything". It accurately reproduces exactly what you give it.
Click to expand...

Agreed, and I think that this may be exactly what some people don't like about digital recording. Digital recording is ruthlessly accurate and doesn't impart any "mojo" of its own.
 
Whatever the views of the digital v analogue camps are here we should at least get our terms right!

You cannot have "degrees" of saturation. Either a transistor is slamming the rails or it ain't!

Transformers can saturate, especially at low frequencies and don't they sound king awful!

But the biggest no-no is the valve. These are NEVER "saturated" a condition that would bugger them in short order.

What the "warmth" boys really mean is plain old D.I.S.T.O.R.T.I.O.N.

Dave.
 
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