Home Studio: Dynamics - Sonnox vs. IK Multimedia

Introduction

Thanks to the example song that comes with PT 11, which is well mixed and just needs a pump for mastering, I was able to compare the behavior of my dynamics processors and, very specially Sonnox Dynamics and Limiter against several IK Multimedia dynamics processors and their Brickwall Limiter.


IK Multimedia compressors for Master Bus

I've tested every IK Multimedia compressor in Master Bus, including Fairchild 670, White and British Channels, Precission Compressor / Limiter and Classic Compressor.
Without any doubt the Classic Compressor delivers the most musical sound in that bus, with just a touch of color and a nice punch. The Opto works nice but lacks that kind of warmth that the Classic Compressor has.

As Limiter, just the Brickwall Limiter does the job.


Comparing IKM vs Sonnox

I can make the Sonnox plugin to sound quite close to the Classic Compressor, if I set up the Warm section to 50% more or less.
The oposite isn't possible, since the IKM one is always coloring, you cannot achieve an uncolored result, for this you should use the Opto Compressor, that works awesome also.
But, without coloring the mix, the Sonnox Compressor works better, in my opinion.

In IKM Classic Compressor to achieve a more clear mix in low end, the Side Chain Filter should be pushed up to 78 Hz more or less to achieve same results than with Sonnox Dynamics, which always sounds clearer, even without using the EQ section.

Giving the same compression ratio, controls settings for each plugin clearly differ and, you have to find the spot that better works for each one, often even forgetting how controls were named.
Visually, Sonnox plugin is more intuitive but, sonically I love that Classic Compressor.

Maybe where there is less discussion is around the Limiter.
While you can get a more accurate control over the IKM one (more range of attack / release ranges), the protection level of the Sonnox is higher and, the Dithering button is really great to check if the mix is going  to sound bad once transported to a 16 bits environment.

Compared to those plugins, I find Blue Cat Audio's plugings more complex to control and, sonically slightly behind those. But, I still love their Meter Pro plugin. What a nice one!.

Home Studio: Blue Cat's plugins

Introduction

While crossgrading to PT 11 and missing some of my key metering and analysis plugins, I've found Blue Cat's metering and analysis plugins as firm candidates to fill that gap.
After trying their Meter Pro and Freq. Analyst Pro plugins, I've decided to download their demo versions of all plugins included in their Master Cat's plugins bunde.

This blog entry is all about my impressions after trying such plugins, under Pro Tools 11.


Blue Cat's Meter Pro

To be honest, it takes a while to be used to Blue Cat's user interface. They usually have more knobs and buttons as you could expect but, in 5 minutes, I felt comfortable with this plugin.
The more cryptic aspect was the Crest meter. Since I didn't know for sure what that meter was measuring, I pushed the help button (the one with the question mark) and... oh... oh... oh... the PDF user's manual popped up on the screen (great!).

That Crest meter is just measuring the Dynamic Range, that is, the difference between average and peak measurements. Great.

Once, understood what is behind this meter, I was absolutelly satisfied with this plugin.
It covers any kind of metering system, including the typical (and used-to) K-System meters (K-20, K-14 and K-12) and, I love that kind of cloud events that easily leave you to see how the RMS and Peak RMS are moving in your mix. Really, very good and informative information.
Same cloud system is used for Crest (Dynamic Range), which is really helpful. Click on the image for a full-size pic.

To me, this is a nice combination of the TT Dynamic Range Meter and the meter section of the Inspector XL. I'm only missing rest of analysis tools included in Inspector XL and the Mono button of the TT Dynamic Range. Related to the dynamics / volume / loudness meter, Blue Cat's blended TT Dynamic Range metter and Inspector XL meter and, even improved those.
GREAT JOB!.

While I can save some money, I am using Blue Cat's Meter Pro demo version (which goes in bypass mode from time to time but, allows me to get the sense of loudness and Dynamic Range of my mixes, anyway).


Blue Cat's Freq. Analyst Pro

Well, here it cames most of the rest of analysis tools I was missing, respect of Inspector XL plugin.
While in Inspector XL everything was integrated under a single view, where you had all needed information (Stereo image, correlation, stereo balance, frequency analysis -FFE, 1/3 octaves, frequency loudness- and, even oversampling metering!), you can cover all that with three Blue Cat's plugins.

This particular Blue Cat's plugin gives you all info related to frequency analysis. It leaves you to focus on RMS or peaks for both channels, each separatelly or everything together.

It has a 2D and a 3D display. Ok the 3D is just a nice display enhancement but, adds no real value to the information displayed in traditiional 2D mode. The really exciting part is the one that allows you what to display at any time. I'm missing the 1/3 octave display of Inspector XL but, to be honest, this was the less used of all meters.

Overall, the plugin is a very good analysis tool. The pity is that you have to pay it appart of their Meter Pro and, we have still a pending plugin to cover every Inspector XL meter.


Blue Cat's StereoScope

This is the third Blue Cat's tool that completes the range of meters included with Inspector XL.
Here we have the representation of the the stereo image, in an unusual but practical way and, the phase correlation and stereo balance typical meters.

With those three tools, all the metering tools available in Inspector XL and, the metering info from TT Dynamic Range meter are on your hands (except for that Mono button of the TT Dynamic Range meter and, the 1/3 Octave analysis from Inspector XL).

But parameters to set up the wanted accuracy and thresholds of metering are adjustable, while in the mentioned plugins, it was not possible.
Because of such a personalization level for each plugin, I can understand why they are being delivered as three independent plugins. Each one is just doing a certain task but, all them are doing it in a very good way.


BlueCat's Dynamics

As in the case of Sonnox Dynamics plugin, BlueCat is offering a single plugin that covers most of Dynamics tasks.

It can be a bit cryptic to understand at a first glance but you have there full control on your dynamics.
The input section has a gain control that you can use to provide some gain to the input material before applying any dynamic tool.
A side-chain section allows you to filter the mid band of frequencies that will be affected by the dynamics tools (the side-chain section of Sonnox is more complete, in this case).

The filter on section allows you to remove any unwanted low and high end frequencies from both, unaltered signal and compressed signal (two shelves filters).

The Stereo section allows you to work with linked channels, independent channels of M/S.

Mode section allows you to work with any range of behaviour between a typical compressor and a fast-reaction Opto-compressor and, any mix between focus into peaks or RMS values.

The cryptic Low Curve corresponds to a Gate and allows you to filter those events which loudness is under a certain gain level.

The High Curve corresponds to a typical compressor effect and, allows you to clearly define threshold, knew spot and type, among compression levels.

The Gain section, when working in auto-gain mode, pushes the mix really hot and, reacts to the envelope of the input material with accuracy.

In the Output section, we have the possibility to engage a Brickwall limiter, to push the output (once post-processed) with an additional (clean) gain and (this is really exciting), to determine the amount of unprocessed and processed signals that are blend in the output.
This blender knob allows you for parallel compression, which works really natural.

This is a very good and transparent dynamics processor, without any doubt.
It has some thing that I cannot find in Sonnox Dynamics but, Sonnox has other things (as the Warm or the more complex EQ section) that I cannot find here.
Not exclusive, both are good tools for the proper case.

In the master channel, I made some comparisons by using the IK Multimedia OptoCompressor, the Blue Cat's Dynamics S, Sonnox Dynamics, and the Avid Dynamics III.
I loved the results of all, except the Avid one.

Since the Blue Cat's can behave as a regular compressor, as well as an optocompressor and, everything in between (there is a blender knob that allows you to select the mix of both behaviors!), it can sound quite well the same as the IKM optocompressor but, less coloring (at 100% Opto).
But, the setting at noon (50% VCA-Opto) with 50% Peak - RMS compression works really nice, with a sligth touch of color.

I don't like the auto-gain mode but, love the 2 stages oversampling control.
Overall, a very good compressor, with great dynamics controls, very intuitive, very useful.

That possibility to blend the effects of an VCA and an Opto compressor is unique in my Dynamics plugins. In the case of IKM you can select several different compressors and, for some, you can even select a different mode or algorithm. Same for Sonnox Dynamics, where you can choose a normal, classic or linear mode. But, in Blue Cat's you can blend the amount of the VCA or Opto effect, what gives you new possibilities.
The IKM Opto doesn't allows you to select a knee and, the Sonnox allows you to define knees as steps of -5dB (-5, -10, -15 and -20dB). The Blue Cat's one allows you to define the exact knee.

With all three you can achieve nice results, and very similar, in fact. Maybe the IKM is just a pinch warmer (if you don't use Sonnox Warm stage).


Blue Cat's Parametr'EQ

Ah, just a 7 bands EQ, right?.

NOT, IT DOESN'T !!!.
Whatch out!. Nice EQ plugin here!.

It can seem just a typical 7-bands EQ, as the one coming with PT 11 or, the Sonnox EQ plugin but, while the Sonnox EQ plugin has 4 o 5 different EQ modes, this plugin has a lot of nuances.

The key feature is under those little windows named "Non Linear" and "Comp Dist". By changing the ratios on those windows, you have EQ filters that behave very differently, from transparent non linear EQ to colored EQs with phase distortion.
You can choose your color with perfect accuracy and, results are easily heared.
Very recommended EQ plugin, for every task except, maybe, dramatic cuts or de-essing.


Blue Cat's Liny EQ

Well, I didn't tried this plugin. I've forgot to download and install it.
But, if it is able to enhance the Parameter's plugin with Non Linear at 100%, I bet it would be a very good pluging for mastering tasks.

But, to be honest, I cannot say anything about it. Nothing good, nothing bad.


BlueCat Multiband MB-5 processor

Multi-band compressor lovers can go mad with this 5-bands compressor. While most of multi-band compressors are limited to 4-bands, BlueCat's one can work with up to 5 bands and, the most interesting is that you can easily change the crossover areas for each band, as well as any kind of dynamics parameters that you would find in their Dynamics plugin.

Demo version allows me to play with just three bands but, control level over each band is impressive.
Once more, that blender knob in the master section is an awesome tool to make this multi-band processor to enhance the mix doing a parallel compression.


BlueCat Protector

That's theoretically a Brickwall Limiter.

But, while Sonnox Limiter, Massey 2007 Limiter or IK Multimed Brickwall Limiter are intuitive and easy to use (ceil clearly means ceil, max. output level means max. output level), this BlueCat Protector isn't so intuitive.
And, if you look to Avid's Master Meter plugin, the Protector isn't completely protecting your output, since it's generating overasampling events that will translate to clipping events in some players.

To be honest, none of the Limiters mentioned are protecting you 100% but, I clearly prefer the easy to understand interface that other breakwall limiters offer.
What's this trend to change the very well known buttons / knobs / functions?.
This helps to who?.

I'm missing also the dithering controls of the Sonnox Limiter, that are really usefull to check you compression levels before bounce the mix to a lower resolution format.

Not really excited with this BlueCat's plugin, to be honest.


Conclusion

I am very happy to have been discovered Blue Cat Audio. They seem to be doing a great job for a reasonable price.

All plugins are awesome but, I liked specially their Meter Pro, which is now my to-go meter (finally, I can say good bye to Inspector XL and TT Range Meter). I love that kind of density clouds that allow you to see where your RMS and Peaks sit the most, even more interesting than to see the bars go up and down.

To complement the Meter Pro, the  StereoScope is a good plugin. I would prefer some alternative ways to present the Stereo density, as the typical views you can find in most of this kind of plugins but, this is just my personal taste. And I would prefer this plugin to be integrated together with the Meter Pro, to have just an slot busy in the master inserts.

As a final complement to the metering section, the Freq. Analyst gives you loudness by frequency, in several ways but, as the previous one, I would love to have it integrated in the Meter Pro plugin, to have all the info ready at a glance and, to save slots in the master bus.

I am gratefully impressed with their Dynamics plugin. Compared to Sonnox and IK Multimedia plugins, Blue Cat is offering more control and possibilities, with a very intuitive use. The special features that allow you to blend two types of compression: VCA and Opto, that Blender knob that allows you to decide which amount of the unprocessed signal (dry) is in the mix and, the possibility to blend compression based in RMS, Peaks or both, are very impressive and very well welcome.

Their Parmetriq EQ is made in the same way, allowing you to choose between non linear and compensated distortion, with anything in between, making the EQ as colored as you wanted.

Their 5-Multiband and Linear EQ are a plus for mastering tasks but, those are the ones with less use in my case.

Probably, the only plugin that I didn't liked is their Protector. For brickwall limiting tasks, nothing else like Sonnox Limiter, IMHO.

Home Studio: Migrating to Pro Tools 11. Some Reflexions - Part II

Introduction

In previous part, I was sharing with you my short experience while migrating from PT 8.0.5 LE to Pro Tools 11. It was clear that some of my foundamental plugins were missing and, I wanted to check if PT 10 (included with PT 11) could be enough and, which are the differences between the one and the other.

I've spent a couple of days installing all my plugings, after installing PT 10 and, this is a lot of software and a lot of time. Before my memory fails, I would like to share my impressions.


Checking Pro Tools 10

After long time downloading last versions and installing everything, it was the time to check PT 10 and, see if my investment in RTAS plugins was ensured.

The first 3 attempts to start the program failed. The program was crashing while loading plugins. Each time in a different spot so, it wasn't an error related to a certain plugin.

The forth time, I was able to open PT 10 and load the demo song that comes with PT 11 (which I've already modified adding some plugins in the master fader).

At a glance, PT 10 seems really similar to PT 8 and, fortunatelly all the bunch of plugins that I were installing were there, available for use and, this includes several 32 bits AAX and RTAS plugins. My loved plugins where there: the Sonnox Elite pack, every IK Multimedia plugin, Massey Plugins, EZDrummer, Superior Drummer 2, Inspector XL, the TT Range Meter and, some free stuff from BlueCat.

Ok. I started the song trying to do a critical hearing but, after half second, the engine stopped with a warning, asking me to increase the number of CPUs in the Engine's menu.
Fine. Number of CPUs was 4 so, I've raised the number to 7 (I've seen a video explaining that you should free at least 1 for system tasks).

After fixing this parameter, I started to play with the several plugins and checking if they were still working.
I can say that everything was working really nice and, the song sounded nice.
Maybe, the small nuances of the song sounded slightly veiled, compared to PT 11 but, overall, results were satisfactory enough.

I had the sensation that the engine was working with a higher load than in PT 11. I've opened the System window and, the CPU load was around a 30%. Memory and disk usage was ridiculous to be considered in this comparison.
But, later, I've checked same file, with same plugins in PT 11 and, the load was more or less the same but, I had the sensation that, while PT 10 seemed to be overloaded, PT 11 worked way smoothly.
I think the new engine is an improvement, for sure and, I would like to check it again with audio tracks, to see how both deliver when disk is involved in the equation.

Before re-checking the song in PT 11, I was surprised with one more goody: PT 10 was hunging on the void when trying to close it. I had to go to the Tasks Manager to delete the process. That made impossible to open PT 11 without re-starting the system.

I had the sensation that PT 10 was highly unestable, at least running under Windows 8.1 64 bits.
4 crashes in a row, just the first day, seems too much, IMHO.


Re-checking PT 11

Before checking again PT 11, I've installed the demo version of BlueCat Meter Pro plugin, to see if such a plugin is a good candidate to substitute both, the TT Dynamic Meter and Inspector XL.
Well, it can cover both meters with ease but, I will miss the mono button  on the TT Dynamic Meter, that was so useful to check the corrective EQ of the individual parts, as well as hidden phase issues.
From Inspector XL, I will miss the rest of meters, useful to check the stereo balance, stereo image, correlation and, frequency analysis tools.
I am so used to the K-System of metering that, I am really happy to have found a real candidate to substitute both meters.

But, BlueCat has a lot of such a tools also so, I think I will end buying those but, in the meanwhile, I can work with their demo versions, which are totally operative but, with the particularity that they are automatically and randomly bypassed, as part of the demo "fee".
That could be a real issue with dynamics processors or EQ processors but, not for their suit of meters.

If you are in PT 11 and you miss your Inspector XL and TT Dynamic Range Meter, try the demo versions from BlueCat. Not so straight forward (lot of buttons to press) as the former ones and, I loved that display of the density clouds of the average and peak RMS. Very interesting.
I am looking forward to check their rest of analysis tools. They seem promising.

Overall, I would say that the mix sounds more airy with PT 11, slightly  (a pinch) better but, difference isn't so dramatical. I would have no doubts on continue using PT 10 and protect my investment but, what really concerns me is the reliability of PT 10. Too much crashes in a very short time.

I dunno, maybe because I am in a 64 bits system, PT 11 works flawless while PT 10 seems highly unestable and, that compromises the possibility to protect my investment in previous plugins.

So, IMHO, you should carefully weight which path do you want to follow, before purchasing PT 11.
If you have a bunch of useful RTAS plugins (even some VST that were wrapped to RTAS) and, their respective manufacturers haven't available a 64 bits AAX version and, they don't have in project to deliver such an upgrade or, if they have it but that means to raise your investment, you should make your maths and take a decision.

If you decide to stay with PT 10, my recommendation is that you work with PT 10 in an estable 32 bits Operating System. Maybe you can have your hardware ready for a 64 bits system but, install the 32 bits version of the Operative System. I bet this would be more estable than running that 32 bits application in a 64 bits system.

In my case, with a 64 bits Operating System, I have no other option than to go ahead with PT 11, after seeing the lack of reliability of PT 10.

Home Studio: Migrating to Pro Tools 11. Some reflexions about.

Introduction

I've started using Pro Tools as a DAW (Digital Audio Workstation) around 2008 and, started with version 7.4 LE but, I've bought it just in the moment I had an indult to use 8.0 as soon as it was available, what occured really soon so, we can say that I am mostly a PT 8.0 LE user.

I was really happy with my old PC, with Windows XP Professional edition, my Pro Tools and some plugins I had purchased. But, as soon as I've started to buy serious plugins and to start recording my stuff then, issues popped up.

One of the worst issues that I had was related to a notable delay between the reproduction monitoring and the input recording. Such a big gap lead me to lots of mistakes, since there is no way to go with the click when the reproduction of what you are recording happens half second later.
Most of advanced DAW softwares were using delay auto-compensation and, I ever wondered why the most used DAW in Studios hadn't such a valuable feature.

Other issues were related to the hardware itself. Disk wasn't speedy enough, memory was low and, the CPU (even being an Extreme Edition) started to be highly overloaded with new brand plugins.

I was delaying the need to go for a higher version of Pro Tools for a long while, because that meant to upgrade (or replace) the complete PC and, probably the Operative System.

But, environment pushed me hard. Windows XP support is going to be discontinued very soon (if it isn't already over), what meant that I better go for a never Windows version.

First version of Pro Tools featuring delay auto-compensation was Version 10, which wasn't available for Windows XP but, only for Windows 7 (and then, for Windows 8). That was the one I've planned to buy in a future.

Well, since XP is gonna be discontinued and Pro Tools 10 worked for Windows 7 and 8, I've decided that it was time to change everything: PC, Operative System and Pro Tools version. But then, I've seen that PT 10 wasn't listed anymore and, that Avid was pushing hard PT 11.

Since PT 11 works in real 64 bits, a 64 bits operating system is a must and therefore, I've decided to jump really high and go for Windows 8.1 64 bits.

And this blog entry is all about the issues I've found when jumping so high. Maybe it will let you to better weight whether to go for PT 11 or stay in PT 10.


Buying Pro Tools 11 crossgrade

Once, I've decided to go ahead with Pro Tools upgrade, I went to Avid site and searched for Pro Tools 10.
Huh?. What?. Where is PT 10?.
Avid was talking about PT 8, 9 and 11 but, no trace of PT 10.
What's happening?. I'd swear it was there a couple of month ago !!!.

Ok. It seems that PT 11 includes PT 10 also and, both are independent versions of PT that can be installed in same machine. I wondered why. Answers came later.

Well, reading a tad more, I saw that PT 11 works just with 64 bits AAX plugings, that means that I cannot reuse my RTAS plugins. WHY ???.

It seems that AAX plugins are enhanced versions of PT plugins, that should deal with the new PT Audio Engine, which (as per Avid words) is way more efficient and powerful than the previous DAE (which worked with RTAS plugins).

There are two versions of AAX plugins, those that where compiled for 32 bits systems and those that where compiled for 64 bits systems. PT 11 works just with 64 bits AAX plugins, while PT 10 is able to work with your old RTAS plugins, as well as with 32 bits AAX plugins.

It seems as if PT 10 was the bridge between the old legacy Digidesign Pro Tool versions and the new Avid Pro Tool versions. While PT 10 can handle everything, PT 11 is very restricted.

Since Avid insists to define PT 11 as the biggest step forward in DAW software, I wanted to check first PT 11, before deciding what to do.

But, what about our investment in plugings for our previous versions of PT?.
Ah, ok!. If you want to use your expensive RTAS plugins, you can use PT 10 version.
So good, so nice. If you want to re-use your investment you cannot work with the top notch PT11.
Therefore, have I to work with PT10 and, when everything is ready, to import the project in PT11 to give the final touch to projects?. Crazy.
I mean, if PT 10 is able to work with RTAS stuff, couldn't Avid developed some software inside that new engine to run 32 RTAS plugins inside?.

With all those doubts rumbling in my head, I went ahead. Purchased a powerfuler PC, with speeder disks, lots of memory and a good CPU. Installed Windows 8.1 64 bits edition, some basic tools and, went for PT 11 download.

Huh?. Ah?. Were is my activation key?. I don't see PT 11 listed in my products area!.
Reading more carefully, PT 11 needs the license to be downloaded to a Dongle Key (iLok) version 2.
So, my old iLok doesn't work?. Ok. Purchasing a damned iLok version 2 and, waiting until I get the iLok to start installing my new brand PT 11. How excited I am !.

Aha. I've got the license in my new iLok 2. I've transferred also all my other licenses (not demo ones) to iLok 2 and, started installation of PT 11.

I was very happy to see that, this time, Avid made a single downloadable file for the complete process.
I've installed PT 11, started the Digidesign Rack 003 interface and opened an old project.

Damn!. It doesn't recognizes the audio interface.
After some tries, I've decided to search for info in Avid site and, voilà, you need to install FIRST drivers, which aren't included in PT 11 !!!.
Downloaded and installed drivers. This time the interface comes back to life.

Browsing the user's interface.
Mmm... just the old Audiosuite but, in AAX format, and just a couple of plugins that seem to be new (at least to me).
Overall, it looks the same (nice!) and, you can find everything where it was. This time, the interface was translated to Spanish (nice!) so, I am feeling at home.

Hmm... I am missing instruments and other plugins. Wait, there is some download named AIR Creative Collection. Let's download and install it.
Nice. Most of the stuff that came with my Rack 003 Factory bundle is there.

I am wondering how can I install the Music Production Toolkit 2 that I own.
No specific updates for PT 11 and, it seem those kind of products are discontinued!.
Every license contained in such a kind of bundles ended with an LE is not elegible for upgrade to PT 11 so, bye bye to Smack! LE compressor, among other LE plugins included in MPT2.
Fortunatelly, the MP3 bounce tool is already included, among the rest of not LE things.
Well, crossed feelings here. In one side, I always thought that all that was included in MPT2 should come stock in any PT version but, in the other side, I've payed a bunch of money for that extras and, half of my investment has gone.

Reviewing configuration menus, I see that now you can define a project working at 32 bits and 48 KHz (finally, a Studio setup!), what means a good improvement respect of previous versions that allowed a max resolution of 24 bits.
You can force PT to automatically translate the audio files when importing from a previous version to your project resolution and, what is even more impresive, you can change your project's resolution at any time, something that was impossible in previous versions.

In the ASIO controller (Windows Control Pannel), I can see that you can select the input volume for each pair of channels (1-2, 3-4, 5-6 and 7-8) and, you can setup the resolution and sampling rate for each one separately. Very nice!.

I/O Configuration is easier now and, you have a clear way to identify each input, output and bus and, even to determine the hardware delay for each input / output.
On Menu Options, the sought-after Delay Compensation options. Nice, nice, nice.

Everything looks the same but, with better resolution and more rational configuration options.


The Hell of Plugins

Before trying PT 10, I wanted to check the availability of 64 bits AAX version of my purchased RTAS plugins.

IK Multimedia plugins

After trying PT 11 alone, it was time to start upgrading my plugins. I remembered that IK Multimedia was delivering AAX versions of their plugins so, my investment was ensured with IKM.
Effectively, I've downloaded new versions and, everything was ready to be used in AAX format.

Just a side note. Version of IKM plugins that work in 64 bits AAX format are those delivered with the Custom Shop (T-Racks CS and Amplitube CS). So, if you have T-Racks singles, those aren't available as AAX plugins.
Since I went myselft for an upgrade from T-Racks Singles to T-Racks CS Grand some time ago, my plugins are read to use in PT 11.

IK Multimedia is one of the very few plugin makers that will preserve your investment.
THANKS A LOT IK MULTIMEDIA !!!!.

But, the awesome ARC 2 hasn't a 64 bits AAX version!!!!.
What the hell?.
This is a priced plugin and a must in any home studio!!!.
It has a 32 bits AAX version to be used with PT 10.

RNDigital Plugins

To me, Inspector XL is a key tool. All their meters are a must for me to mix ITB during the night, since they offer me more information that the headphones for some critical hearings.

Therefore, I wanted to check if there was an AAX version ready to download, as in the case of IKM plugins.

Whaaaaaaaaaaaaaaat?. Roger Nichols is dead !!!. RNDigital site is down !!!.

Searching Internet....

Whaaaaaaaaaat?. Some legal issues with the real developer ended closing Rogern Nichols sites and, that plugin isn't available anymore. Elemental Audio that was selling it is also down.

I am really upset. That plugin was key in my toolbox and, costed a bunch of money just being a set of meters.

VERY BAD.

SoundToys plugins

Well, SoundToys site seems to be alive, still but, they doesn't seem to update their software very often.

There is no AAX version available. No way.

Well, this set of plugins is very specific and, I am using basically the Reverb plugin by Sonnox so, I am not missing really nothing here.

Sonnox plugins

I remember to have seen AAX versions of Sonnox plugins available so, let's go there to download them!.

Damn!.
If you want the AAX versions of Sonnox plugins, you have to pay 15 GBP for each one and, even so, there are some plugins that aren't still available in AAX format.
I've spent a lot of money in Sonnox plugins and, now, I have to spent around 150 Eur more to have those working for PT 11.
VERY BAD, SONNOX !!!.

Sonnox plugins were the hell expensive. Very bad I have to pay an extra fee for PT 11.
I've decided to buy one by one, when I really need some but, this leaves me with very few weapons!.


FXpansion plugins

Seeing the issues with AAX versions of my RTAS plugins, I bought long time ago the FXpansion RTAS Wrapper, which was able to convert around 98% of my VST plugins into RTAS versions, directly usable under the AudioSuite Menu.

I have an idea!!!.
They will probably have now an AAX wrapper and, therefore, I should be able to wrap all my RTAS plugins to be used with PT 11.
What a great idea!!!.

Oh, not!. They don't have an AAX wrapper and, they will not do it!!!.
SAD, FXpansion. Your RTAS wrapper was an awesome tool.


TT Dynamic Range Meter

Another of my key metering tools, that costed my some money, on Tyschmeyer' site.
Well. There is no AAX version available to download and, the original maker (Algorithmix) isn't maintaining or selling it. So, another great plugin to the trash can.
VERY BAD, ALGORITHMIX.

It seems that now, Brainworx is selling an enhanced version of such a meter but, isn't available as an AAX version. What a pity!.

It seems that the only affordable alternative to solve the lack of the Inspector XL and TT Dynamic Range will be to buy Blue Cat's Meters. More money, OMG!.
I'm downloading all Blue Cat's freeware plugins to check which quality level do they have, before taking a decision. They seem very complete but, complexer, not dummy-proof.


ToonTrack plugins

Long time ago, I've purchased first the EZDrummer and several EZX expansion packs and, about one year later, Superior Drummer 2.0 and several SDX expansion packs.
Those are rarelly used, when I have to manually sequence some drums parts.

Well, it seems that ToonTrack did their duties and their products are up-to-date, providing 32 bits and 64 bits versions but, the installation is a bit messy. You have to install the original product version and, then to apply first late 32 bits update and then the 64 bits update. You better leave installation directories as default, to avoid weird results.

After a couple of days, downloading and installing everything, I've opened a PT 11 session and, inserted an Instrument Track to check if EZDrummer and Superior Drummer where available.
Both are now listed as Instruments for PT 11. Nice!.
Trying Superior Drummer... ok... Authorizing it. It seems to work.
Trying EZDrummer... CRASH!!!!. PT aborted.

I have to troubleshooting this. Will update status in a new blog entry.


112dB Plugins

Just one 112dB plugin I've purchased, the Red Monitor. This plugin allowed me to mix with headphones simulating same conditions as if I was hearing the mix thru monitors and, was a key plugin to silenty mix, without disturbing my family. Results where very close to real thing so, I liked it very much.

It seems that 112dB plugins are compatible with every PT version except 11 but, 64 bits AAX versions "are in the pipeline" (as per 112dB words).

DESPERATELLY WAITING FOR THAT 64bits AAX version.
Please, make it free!.


Massey Plugins

Well, currently Massey Plugins are compatible with PT up to version 10.
Fortunatelly, that guy is working on 64 bits AAX versions (in Beta Phase as per October 2013).
Knowing how Massey does things or they will be available for free or they will be available for a ridiculous upgrading price.
GO AHEAD MASSEY!.


What about PT 11?. Does it Deliver?.

I was a Cakewalk user for a very loooong time. After visiting some little Studios, I've realized that the to-go DAW was Pro Tools and, when I've tested my old Cakewalk songs in Pro Tools, I've instantanelly noticed a nice improvement in sound, just using stock plugins.

Well, comparing PT 8.0.5 LE to PT 11, I can say that I am feeling same improvement level. Things sound more "airy", more "correct" and, I am not feeling the sensation that the delicate nuances are being missing.

Stock plugins work better, smoother and clearer than in PT 8 and, I see the possibility to make a good mix just using stock plugins.

I was highly impressed with their new Channel Strip plugin. IMHO, this single plugin can do everything you wanted for a track or bus. A master piece of software, indeed.
I've tested it in every single track (bypassing previous plugins) and, it had an usable preset to be used for each track (which I tweaked just a bit to my taste) and, in all them it made an awesome, crystall clear and musical work. My congratulations, Avid people!. This is the best Avid plugin ever.

I've loaded one of my well known songs but, some tracks where missing. I've probably lost some information when swapping the PC so, I cannot blame PT for this. I will do further tests with new stuff, in any case.

I've loaded their demo session and, I was impressed with the bunch of tracks that were loaded, with lots of virtual instruments and, lots of plugins. I've opened the System window to check resources use and, I was impressed how low the CPU and memory usage where.
There are not so many audio tracks in that demo so, it's difficult to know how efficient it will be with audio tracks. Most of tracks where midi tracks triggering virtual instruments.

The Master Meter is also a nice tool to see if your Brickwall Limiter is doing its task and, it seems that IKM Brickwall Limiter isn't able to control everything. There are lots of oversampling events so, I guess I need to go for that 64 bits upgrade of the Sonnox Limiter.

I've tested several IKM plugins, mainly in the main bus but, also in some instruments, just to check if PT 11 was able to stand that load (IKM plugins are running with the highest resolution, what means a lot of load).
Everything worked smoothly. No issues and, awesome musical results (well, that's why I love IKM stuff).

I take advantage of this testing session to check the cryptic IKM Quad processors and, the Quad Imagine was a nice discovery, allowing me to widen the stereo image, just for those bands I wanted it.
I've also used the Bus Compressor (awesome as a glueing compressor, with a very light compression and gain makeup) and the (I confess it, underrated) OptoCompressor, among any other typical studio ones: Fairchild 670, White 2A, Black 79, etc. All them delivered good sound.

I still don't like their Metering suite. I think it's bogus or, I cannot understand what the hell is it doing.
Even pushing the mix hard, RMS levels stay always around -20dB, while I clearly see in other meters (as in the Limiter) that RMS are way over -20dB, maybe around -12dB.
That's why I loved Inspector XL and TT Dynamic Range Meters and, that's why I need to solve this ASAP.
I'm missing the K-System all the way!.

Overall, from a reproduction point of view, PT 11 seems a step over previous versions and, that channel strip is a top-notch workhorse that will make lot of people to smile, when using it in their mixes.
Don't forget to try it!. It's a GREAT plugin!.
The drawback is that it looks like a tad arcane, with lots of parameters and possibilities.
Best approach is just to recall some of its presets and then, to tweak a little bit something.
It deserves an in deep analysis to fully understand this incredible good tool.

Lots of tests are still pending and, very specially, those related to recording and, how PT 11 handles the delay or low latency monitoring.
I'm still pending on testing PT 10 also, that seems the Island I need to go to preserve my previous investment in plugins.


Conclusions

Pro Tools 11 seems the near future but, it cannot be the present. The present is Pro Tools 10.
Plugin makers are still dealing with their 64 bits AAX versions. Some will do that for free, some will charge you more or less money for an upgrade.

Currently, you cannot expect to smoothly re-use all your purchased RTAS plugins with Pro Tools 11.
It seems that Avid shaked the plugins market and, due to the highly technical development behind any audio plugin, it's gonna take a while for makers to have their plugins ready for a 64 bits AAX version.

Will I recommend to crossgrade to PT11?.
Yes, indeed.
It will take a while to have all your wanted 64 bits AAX plugins ready but, since PT 11 includes PT 10, you can buy PT 11 for tomorrow and use PT 10 for today.

Go for a 64 bits PC and Operating System. This will ensure you that you will be able to use PT 11 once everything settles. In the meanwhile, you can use that 32 bits PT 10 in a 64 bits platform without issues and,  you can process tracks in PT 10 and import processed audio files to PT 11.

In a next blog entry, I will share my tests of version 10. I hope I will recover all my beloved plugins there but, how the system will work?. How nice it will sound?. Would it be a notable sonic difference respect PT 11?.
Ah, Ah, Ah!. Too many questions to be answered.
Stay tuned.

Home Studio: Testing new IK Multimedia mixing and mastering plugins

Introduction

Even that I own the Sonnox plugins and those are absolutelly top-notch, I am finding those more appropiated for Mastering tasks than for Mixing tasks.
I was greatefully surprised with the quality of T.Racks plugins by IK Multimedia and, I am usually working with the Classic Compressor, the Pulteq, Fairchild 670, 1179 and LA-2A emulations with satisfactory results.

I've saw some time ago that they were delivering new stuff but, I wasn't able to buy those until now.
I've upgraded my T.Racks singles to T.Racks Grand bundle and, purchased the remaining plugins.

I've selected one of my well known sounds and, started to mix from scratch, removing all previous plugins from the project and setting everything to its initial status, to check the goodness of some of the new plugins of IK Multimedia which I was more interested on.

I wanted to check, in first instance, the British Channel, the Bus Compressor and the White Channel and, this is all about this blog. I've tried those in my song and had some conclussions.

Once more, I cannot compare the real outboard gear against the software and, this is a point that really doesn't interest to me, since I will be never able to purchase such a kind of hardware. Therefore, my interest focus on whether those new plugins can do any good for my material and, indeed, they do it and, as with rest of their plugins, in a very musical way.


Testing British Channel, White Channel and Bus Compressor

Overall, first thing I want to take your attention to is the high sensitivity of their controls. Each little change has a clear impact in the sound. I would say that the impact by movement of dial is even greater than in their previous top-notch plugins (Fairchild, Pulteq EQP-1A, 1179 and LA-2A).

As always, which plugin (or hardware) to use will always depends on your tastes and on the song itself. To be able to check between several options is always welcome to better sculpt the song to match what you had in mind. And, those three plugins are opening the possibilities in a good way.

I went first with the EQ / volume tasks for each track, to have a mix where each instrument was clearly identificable, even in mono environment. For this, I had to use some compressors to leveling the volume between tracks and some corrective EQ to help to differentiate each instrument.

What I did first is to work on the EQ of each instrument and, for this, I've used the standard 7-bands EQ that comes with Pro Tools, basically to remove high and low end frequencies from each instrument, depending on their own nature.

After that basic EQ correction was more or less ready, I went to each track to help to leveling all volumes and, for this I was trying several compressors, over each track, choosing the one that better worked for this particular song.

I've selected the British Channel for Kick, Guitar and Vocals.
This was the plugin that gave me a better result in those individual tracks.
I had to remove the EQ settings that were focusing over certain frequencies (by example, dip around 125 Hz, where the Snare has it's fundamental sound or any increase over presence frequencies) to be able to get the best results from that plugin.
That leaved the EQ plugin just with two active filters, the one that removes hi-end and the one that removes low-end, leaving an usable range of frequencies for each instrument.

Reason is that, the EQ controls of the British Channel are so smooth and musical that, I've find them more than enough to select which frequency to enhance for each instrument to help them to differentiate in the mix.
Very soft touchs on the dial produce audible changes in the material what helps you to fine tuning the sound.
The EQ section of this plugin is really responsive and musical.
As always, IK Multimedia provides some usefull pre-sets that will help you as an starting point to get your work ready in less time.

The White Channel (the modern version of that British Channel) was used just for the Snare. I didn't exhaustively tried each plug-in so, maybe because of this, the only track where I've found it doing a better job than other plugins was the Snare track.

Same overall comments as for that British Channel are valid for this White Channel.
Results are very musical but, the sound is being colored in a very different way, maybe more accurate and cold, compared to the British Channel, that delivers warmer results, in my opinion.
But, anyway, that was the sound that perfectly matched my needs for the Snare and, I've preferred the White Channel to their White 2A (LA-2A) plugin.

I am thinking that, maybe I need to go deeper to work with this plugin in the vocals track.

But, for Hi Hat, Toms and Overheads, I went to their White 2A plug-in, which I liked more there.
For Bass track, I went for their Black 79 plug-in, which I liked more.

Then, I've used the new Bus Compressor to glue tracks and, it was of great help to glue together the independent instruments of the Drum kit in the Drums bus and, I've found it very good to glue the whole mix in the Mix bus, before sending the results to the Master Fader (for overall Compression and Limiting).

While I don't like that Bus Compressor in individual tracks, I recognize it's a nice tool to put together several tracks sent to a certain bus.
As with the other new plugins, their controls are highly responsive and any little touch makes a clear difference in sound and, as usual in IK Multimedia, there are some very useful presets that you can use as a helpful starting point.

Conclussions

I didn't tested every single possibility of these new plugins so, I bet I can find a broader use for each one but, what I liked is that they all produce their own sound and, that each one, together with the rest of T.Racks plugins, can bring you the right tool for the right work.

I highly appreciate the pre-sets that each plugin comes with, since this gives you an overall idea what each one is usually used for and, this gives you a nice starting point that, for sure, you have to fine tune for your track, bus or song.

Not being able to compare hardware with software, my interest focus on if those plugins worth the money.
My opinion is that those three are very useful weapons and, of same quality as their Pulteq, Fairchild, LA-2A and 1179 emulations and, all them together deliver very musical and usefull results that help to bring some life to your mixes.

If we compare the prices of T.Racks plug-ins against the big companies (Waves, URS, Avid, etc...), we are getting top-notch plug-ins (second to none) for an "affordable" price, delivering musical results and, helping to anyone who wanted to mix ITB (In The Box).

I'm lacking the quality user's manuals that came with their first takes of mythical studio outgear (like the Pulteq or the Fairchild), that were of great help to understand how to handle each virtual hardware.
Other than this, I can just to thanks IK Multimedia for their work to leave us to come closer to real studio gear for an "affordable" (compared to real gear and other plug-ins) price.

Home Studio: Testing IK Multimedia White-2A and Black-79 plugins

Introduction

Note: this entry was already published in my old Spanish version of this blog, around June 2011. I am just revisiting it here, with some added info.
Some time ago, IK Multimedia released their plugins for mixing and masterizing, under their series T-Racks. I was lucky with their initial offer and I was able to get all them for a very affordable price.
From all those singles that I've bought, I didn't belive how good the Pulteq EQP-1A and Fairchild 670 emulations worked. I felt immediately payed with just those two plugins. Those two had a magic thing inside.

I cannot compare those two plugins to the real gear, their price is completely out of my budget but, it didn't matter to me, because for the very first time, a couple of plugins draw an smile in my mouth.
But, if I cannot compare those against the real gear, I can still compare those against Digidesign plugins.
Those IK Multimedia's were way better than Digidesign ones, hands down. They were so good!.
So, as soon as I've seen IK Multimedia releasing the White-2A and the Black-79, I had to have them.
As you have probably guess it, the White-2A corresponds to the mythic LA-2A and, the Black-79 to the 1179. A couple of so mythical studio outboard gear as the Pulteq or Fairchild.

In this entry I am commenting my impressions after trying both plugins.


User's manual

Well, this time the user's manual is very short, compared to manuals that come with the rest of T-Racks plugins. In previous manuals, there were way more examples and tricks and trips to help you to get the best of each plugin.
In this case, the information is realy basic and, just reviews controls and what are they for.

But, fortunately, IK Multimedia has some videos demoing the use of such plugins in several instrument tracks and, to the whole mix.

Factory Settings

Like in the rest of T-Racks plugins, there very few factory settings but, all them are really useful and, a very good starting point for your work.


Checking plugins


White-2A

This LA-2A emulation is softer than the emulation from Digidesing. With Digidesign's version, it was really difficult to get some sweet spot where things started to sound nice.
The IK Multimedia emulation deliver a better sound and, with a broader spectrum, what makes it way easier and quick to set up the plugin to achieve good results.
I've tested it in the several tracks of the drum kit, in its Limiter mode.
Operation is really easy. You just need to set up the peak reduction level (compression), in a way that we can remove the excessive peaks while maintaining dynamics and punch.
Once the compression level is being selected, you roll the gain control to choose the desired output level.
Easy, effective and very musical.

With the Vumeter, you can check the gain reduction level (middle position), the output at line level (-10dB)  or the output at studio level (+4 dBu).

The Limit / Compress switch allows you to use this plugin as a compressor or as a limiter. It works more efficiently as a limiter in highly percussive drums tracks.

Lastly, we can use the plugin in stereo (L/R) or in Center/Side matrix (M/S).

Controls work very smoothly and, allow you to perform very subtle changes. The Digidesign emulation is more stepped and, it's difficult to find notch positions. Also, the resulting sound of the T-Racks' is more musical and presents less "digititis".

This is a great plugin, indeed. Highly recommended.


Black-79

Same history with the Black-79. I've never achieved a satisfactory result with Digidesign's take of the 1179 but, with the IK Multimedia's one, I've achieved fantastic results in drums and vocal, in just 2 minutes.

I've tested it in the drums bus (after limiting the peaks of each individual track with the White-2A) and, I've used the Black-79 to give a nice compression to the whole drum kit.
The factory setting for drums is a very good starting point and, helped me a lot.
A few adjusts here and there and, the battery started to sound very natural, with the right compression ratio.
I had to readjust the individual levels of each drum part to achieve a good balance in the bus.
Results were really stunning in a very short time. It made me really happy.

In the vocals bus, the results were still more immediate. The factory setting for vocals is really good. Light touches in Input and Output controls and, vocals started to sound perfectly compressed, warm and natural.

Awesome plugin also. Highly recommended.

Conclusions

As I had some points stocked from other purchases, both plugins costed me the price of one, what made me even happier.

I think those two plugins have the same quality as the Pulteq EQP-1A and Fairchild 670 and, that both are awesome tools to mix in-a-box.
As most of T-Racks plugins, are very grateful and, it's really easy to achieve good results.

With the time, I am appreciating every time more the rest of plugins of T-Racks series that, even not specifically based in certain mythic gear, they always deliver musical results and, I find myself using them more and more.

I honestly want to thank IK Multimedia to produce such a quality plugins for a price that is a bargain, compared to the price that the "greats" (Waves, URS, RNDigital,  etc...) establish for equivalent plugins.
I hope they can follow developing other emulations of some other mythical studio gear, as the API 5000 series, or Neve.

Keep up the good job, IK Multimedia!. Congratulations!.

Home Studio: Primacoustics London 12A Studio Kit: take the control of your room?

Introduction

Note: this entry was already published in my old Spanish version of this blog, around February/2011. I'm just revisiting it here.
Well, I am still trying to correct the acoustics of my mixing room. I was really scared seen as any mix that sounds ok thru my near field monitors, sounds really bad when bounced to an MP3 file.
The IK Multimedia ARC system helps a bit but, it delivers a "washed" sound and, even that it helps to correct some deficiencies of the room, it cannot get rid of issues derived of excessive early reflexions (fluttering echo, comb filter...) and, cannot work for low frequencies with the same efficiency that a real Bass Trap.

In my recording tests with vocals (and the new Rode NT2-A, that makes everything to pop up in the track), I've notices that some reflexions even doubled some words, with a temporal shift really ugly, making the resulting take a bit blurred. Even that not all the track was affected, there are some parts were the excessive early reflexions created real issues.

The T.Bone Micscreen filter seems to help nothing to protect the mic from early reflexions. The mic is highly sensible and gets everything with ease.

In this situation, I was forced to go an step further and to try to acoustically treat my room; something that I was avoiding because of two fundamental reasons: the high cost and the "aesthetic modification".

But... how to start, when you have not enough technical knowledge?.

After some time reading articles and reviewing prices, it seemed to me an acceptable idea to try to get rid of those problems by purchasing some of those kits for little home studios.

Clearly, no specialist will recommend you to go this way. Most those that "support" the idea, will coincide on that a solution based on high density foam pieces DOESN'T solves anything and, has a durability issue (it seems that the Sun light among other environmental agents attack the foam, which ends getting rid, with a ugly impact in your Studio look).
As a minor evil, they will "accept" solutions not based in high density foam.

So, after browsing several offerings of that kind, it seemed to me that the best option was the Primacoustic London 12A Studio Kit. In first place, the panels were made of glass fiber (instead of foam) and, in a second place, it seemed to come with an anchoring system, what allows you to remove the panels and reuse them in any other room. Since I'm in a rental house, to me is a must to have a solution that can be removable and reusable in any other house.

With a real crack in the credit of my card, I bought the kit and, this is my experience.


Presentation

The whole kit comes packet in a single box of huge dimensions, which size comes determined by the size of the "bass control panels". It comes well packed and includes 100 studs and 100 screws, to fix the anchoring pieces to the wall and, also a drill (curious!). Finally, all the needed anchoring pieces come included in the pack.

A nice triptych, with lot of propaganda about their wonderful products and, no user's manual or instructions that help you to guess "how to do it". Luckily, they have a guide of installation in their website, very clear and easy to follow, among some demonstrative video and, therefore, the plannification of the installation is clear.


Panels

Well, the first thing I wanted to snoop were panels... what are they made about? how are they built? what do they have in special?.

First disappointment. Panels are made from compacted glass fiber wool, coated with some kind of clear substance (epoxy, I guess), to avoid the wool to frying. That panel is then wrapped in a fabric piece (as per their ad, acoustically neutral), which is glued to the back side of the panel.
A curious thing, the product says that the panels were made in China, while the assembling was made in Canada. What do the Canadian people so good that Chinese people cannot do in something so simple?. Is that just a way to justify the high price of a cheap product?.
Well, the square meter of glass fiber in a Depot, costs about 2 Eur!!!.

The 8 "control columns" make about 3 square meters.
The 2 "bass control columns" make about 1,5 square meters.
The 12 "tiles" make about 1,1 square meters.

So, summing it everything up, at 2 Eur / square meter, we are talking about 11,2 Eur !!!.

Ok, then we have the steel anchoring pieces. About 28 of "regular" ones and 8 "special" for the squared panels. Primacoustic sells 24 broadway impalers (that's how they call the anchoring pieces) at 46 Eur. So, a couple of pack make 92 Eur.
The 8 squaring impalers are being sold at 69 Eur.

Summing everything together, with the fiber panels, it means 172,2 Eur.

Let add some since fabric, at 5 Eur / meter and, let say that we will need 3 times the linear meters of all the panels, about 18 meters, at 5 Eur, means 90 Eur.

Ok, that makes 262,2 Eur in material, at the price that is being sold in stores.

So, summing up everything together, with the epoxy rosin, the glue to glue the fabric to the panel, etc., for around 300 Eur, if you have good hands, you can do it by yourself and, you can even put there the fabric that more likes to you because, at the end, those panels can decorate or break the look of your room.

If they were made totally in China, since the price of the human work is negligible and, they send containers of material (lowering the shipping costs astronomically), maybe we had a finished product for about 400 Eur.
Up to the 722 that actually costs... help me to understand the difference?.

To be honest, the look of panels is good, very classy but, they smell really bad. For this price, they could add some pleasant Asian essence.


Installation

Well, I have to recognize that, even that it takes its time, it's easy but... is there any need for so much complexity?.

I've weighted panels on hand and, even the huger are lightweight, easy to handle with a single hand.
The anchoring system consists into put one impaler for each small tile, 2 impalers for "control columns" and 4 special impalers for the squared "bass control columns".
The "regular" impalers need 2 screws, the "specials" 4 (but, I've installed those impalers with 2 in diagonal).

Screws and studs are of size 6, what sincerely is unnecessary for the weight of those panels.
If you sum up, 8 columns need 2 x 2 x 8 = 32 screws, 2 bass columns need 2 x 4 x 4 = 16 screws and, the 12 tiles need 12 x 2 = 24 screws. 72 screws in total, 72 holes in your walls!!!.

IMHO, every panels, except maybe the bass control columns, could be placed on the wall by using an industrial Velcro solution, which will reduce the installation time dramatically. The only panels that probably still need the impalers are those squared bass control columns, because of its very special position.

But, if you want to go with the recommended installation way, then be patient.

I've thrown 3 straight lines by using 6 pushpins and a thin rope, that gave the upper adjust level for pannels, the placement for the upper impaler and the position for the lower impaler.


And, once mounted, what it looks like?

Honestly, it gives to the room a very "professional" look. Panels are well finished and, the chosen fabric has a very neutral color that suits very will to the room.

From Theory to Practice

LEDE Studio?

The two basis ideas that "justify" this kit are: stereo balance and the creation of a LEDE room.

What the heck is a LEDE room?

LEDE means Live End / Dead End.
The concept consists into split the room in two very differentiated areas of same dimensions, a live zone (with full reflexions) and a dead zone (with no reflexions).
The most of the kit should be installed in the dead zone (around the hearing spot), to "kill" the early reflexions, that are the bad boys of this tale.
In the living zone, we will install just the little tiles to aid sound diffusion.
All this is very nice, indeed but, everybody has it's own limitations respect of its own Home Studio, usually placed in the less used room and, with different furniture, windows, etc.
So, In my case, I just did what my room allowed me. Even that I understand the theory behind, I've preferred to "put all the meat" in the side walls and back wall of the hearing spot, since neither the front window, the heaters or the two doors leave me space for other kind of arrangement.

So, I recognize that my room isn't so LEDE but, my woman said that it looks impressive.

So good, so nice but... does it works?

After the hard work made with installation, it was too like to test my "new" studio. This and that I was afraid to be disappointed with results, which made me nervous thinking in the amount of credit that I had to restore spent in crap.

Well, it took me one more day to start my tests. I've switched on the audio card, monitors and, loaded the DAW with the mix I was working on before starting all this adventure.

Er?... great part of the "boom-boom" disappeared and, it seems easier to work with reverberations now. I mix with near field monitors and, do a bounce of the mix to an MP3 file.
Nice!. For very first time, the sound of the MP3 is closer to the sound that I've heard thru monitors.
The Mix have some issues still but, this time the mids doesn't seem so inflated and lows doesn't produce me a headache.

Placebo effect?.

My analytic brain gets the control of my heart and, the devil in my left ear says to me: "hey, maybe you WANT to hear some enhancement just because all these costed a kidney. Get that ARC mic and check if equalization issues were corrected!".

So... one more day to start testing with the help of the ARC system.

I mount the mic, start the application and, patiently I am taking the 24 samples around the hearing spot.
And, here we are the two comparison pictures.

Firstly, how everything was before trying to save the world with that Primacoustic Kit:

And, now, the picture after the "treatment":



Comparing both pictures, I don't know if to wear the hat with donkey ears or to hara-kiri myself.
In the Right side of the room, we can see an increase in the mid-low frequencies, respect of the original situation and, this is because I've CENTERED the desk in the room, looking for that nice stereo balance and, now I have very similar issues (very balanced, indeed) in both sides.
More about it, the already existing peaks in the region between 100 - 200 Hz seems to had been increased.

The Orange lines correspond to the deviation of the room sound respect to the target curve (plane eq, Green line). White lines correspond to the correction curve that ARC can achieve.

In my understanding, already existing anomalies are still there and, they even increased.
The only part that seems to be enhanced is the "AIR" band, that seems to be recovered about 6 dB.
It seems also that the zone of mid-trebles, were the second order harmonics and presence is being represented is now bumped up, while they were already OK BEFORE (plain response).
The response in low frequencies seems to had been dimmed, also.

Conclusions

I've got very mixed sensations and thoughts. In one side, it's true that I feel a clear difference to best. In the room the low frequencies were really boomy and, I feel this was fixed in around an 80%. The enhancement is clearly audible, whatever the ARC graphic says. If that enhancement is due to this recovering of the AIR band, I dunno.

Where I am hearing the best improvement is related to reflexions. Clearly, this is working well against excessive reverberations.

 

Does this kit solves the modal issues?

NOT, NOT and RE-NOT.

Every small room suffers of some resonance modes that accentuate frequencies between 120 - 200 Hz (more or less) and, it's clear that the standard control panels aren't able to get rid of this messing issue.
Those modes make the sound very confusing, with bad defined lows, boomy, very ear fatiguing.

According to every expert, only Real Bass Traps can solve this issue.

But, the price of a single Bass Trap is scary, above 400 Eur and, at least, you need two of them.

Do you recommend me this kit?

Sincerely, NOT, I DON'T. Not to this one and no other. You are paying a lot of money for very few enhancement. This kit can help with reverberations and, maybe, it's increasing the AIR band but, isn't able to get rid of the room modes, that are one of the biggest issues to have a good mix.

Since it is clear that with material of high density you can reduce the early reflexions, there are many other ways to achieve this effect at a lower cost and, you can build them by yourself: glass fiber panels, dense curtains, dense carpets... anything very massive, with a very irregular surface that can increase the 3D face of the wall can help to reduce early reflexions.

However, to control the modal issues of your room, it seems that the only medicine are Bass Trap. Bob

Katz (among others) recommend Real Traps by Mondo.

 

In my honest opinion, spent that money in good Bass Traps and, reduce rest of issues with cheaper and imaginative solutions.

 

One more thing to take into account.

I wrote to Primacoustic people with an sketch of my room, including furniture and, rest of elements, together with the resulting curves of measures before and after and, asking them for some answers about results and, asking them for some guidance about how to get better results with their kit.

I WAS ABSOLUTELLY IGNORED.

WHAT A SHIT OF CUSTOMER' SERVICE HAS PRIMACOUSTICS.

Home Studio: Rode NT2-A Studio Solution Set and T.Bone Mic Screen

Introduction

Note: this entry was already published in my old Spanish version of this blog, around January/2011. I am revisiting it here.


One of the most complex things for a Home Studio is to get a good record of clean and defined vocals.
The typical mic to start, that anyone will recommend you is the Shure SM58.
Honestly, I didn't liked any of the takes that I did with this mic. To me, vocals sound so close and dark and, the track needs to be hardly re-EQ'd to make it to sound similar to the real thing.
Overall, the mic lacks some gain, what forces you to sing closer to the mic, increasing the proximity effect of such a mic.

During my visits to a friend' studio, I had the opportunity to try a mic Rode (probably, one NT2000, memory fails here). That mic impressed me because of its clarity and detail so, I wanted to substitute my SM58 with some model from Rode.

I bought the NT2-A because of economical reasons. As per the articles of Paul White (SOS), there are just two levels of large diaphragm mics: those that cost a kidney (High end Neuman, AKG...) and the "affordable" ones.

The gap between "affordable" and the mythical Neuman U87 is really huge but, differences in price between the "economics" are less dramatic. After reading an article around the NT2-A, I've been convinced that this was the best solution for my financial state.

Paul White says that this is the mic with less floor noise of the affordable ones, valid for practically anything and, with a very plain response in frequencies. A bright mic that can help to opaque voices, as mine... so... the dices were rolling.

In other side, it's clear that there is a clear difference between a dynamic mic, as the Shure SM57 or SM58, that are designed to catch just the sound very close to its capsule, highly attenuating the sound with the distance and, a large diaphragm mic, as the Rode NT2-A, designed to catch everything around.

Trying to reduce the ambience noises that this mic can catch, I've tried also an absorbent mic screen, concretely, the T.Bone Micscreen.

Follows, my impressions about both things.


Rode NT2-A Studio Solution Set

This nice pack includes the mic NT2-A, the anti-shock mount, an integrated pop filter, an XLR cable, a CD with more marketing than useful info and, a fund for the mic.
First pack that I've received was faulty. The Omni and Eight mode of the mic were working ok related to gain but, they had a lot of floor noise produced by the mic itself, that was far away from that quietness that Paul White was talking about.
The cardiod mode didn't work and the floor noise was really high, with a very weak signal.

So, I did my first tests with the Eight mode and, despite of the floor noise, I was really impressed about how clear and defined were vocals and, best of all, no need to re-EQ the track (except a small dip around 5KHz, to remove some piercing presence).
After a while, I had the replacement pack, with a new mic and... this time was everything working fine!.
Impressive the low level of the floor noise and, impressive the high sensibility of this mic, able to catch the quietest sound happening in the room, even out of the cardioid pattern.

Also, impressive gain level. If my tests with the first faulty mic needed to raise the input gain in the pre-amp, for those tests with the second one, I needed to maintain the gain knob below noon, to avoid the bus to clip.

It's able to suffer high level of sound pressure, accepting 137 dB (normal mode) or, up to 147 dB (with pad set to -10dB). I've started to scream like a monkey asking for an autograph to Cheetah and, the mic get it all, without any distortion. Cool.
Fortunately, the pack include the antishock-mount, since this mic needs to be mount in a ring and, otherwise, I hadn't the opportunity to try it mounted in my mic stand.

The anti-pop filter is just correct and, a bit limited in movements. Possibly, better to buy an anti-pop filter with a flexible arm.

The antishock-mount seems reliable and strong.

The mic weight considerably and has an impressive size. Done to dynamic mics, as the SM57, SM58 and, some Sennheiser, to stand this mic on my hands was a religious experience.

Overall, it looks really professional. It doesn't seems a cheap gear produced at low cost in China and, in fact, Rode' series ending in A are being produced in Australia, where Rode were able to reduce costs by using sophisticated machines that reduced the mounting time and, excess of personal.

The takes I did with this mic (even the faulty one), leaved a track with a nice gain, awesome dynamic range, lot of detail and defined vocals that suited the mix naturally. I had to dip around 5K to remove some excessive bright there but, even without touching the EQ, the result is directly usable.

I am really happy with this mic, indeed.

Due to its high ability to get high preaure level, it's even possible to use it to record guitar or bass amp, and even Kick drums. To do that, we need to switch on the option -10dB pad.
So, a great mic, with an affordable price related to other large diaphragm mics, high quality, impecable finishing, very low floor noise, plain EQ and, the possibilty to use it for any micking task in the Studio.

To whoever that is sick about its SM57 or SM58, I highly recommend him to check this mic!.

T.Bone MicScreen

Well, I've tried to filter part of the ambience sound heard in the back side of the mic (not cardioid zone) and, to avoid room reflexions, by using this mic screen, because it was really affordable and, opinions were very mixed about this kind of solutions.

Comes unmounted but, the task is easy. Everything comes in a box with a very professional look. Has some interesting accessories, as a bar that allows you to mount two mics (for stereo tasks).

The screen as an adjustable wide (but, unstable and not accurate) and, it's easy to couple to any mic stand but, because of its weight, you better choose a stand with a weighty base.

Related to its function... does it really work absorbing the ambience noise?.

Answer is... NOT!.

I've put the stand with the mic facing a books shell (to avoid reflexions) and, with the screen behind, "protecting" the rear side of the mic (not cardioid).

In first place, the NT2-A is cardioid but not hypercardioid.
I've tried to click my fingers in the back zone and, it catches the sound with total clarity, with a volume level slightly lower respect to same sound in front the mic but, high enough.
Then, I've tried the same behind the screen and, the mic was catching the sound without any issues.
Vocals tests were also very clear about all this.
While I was adjusting the gain level, in my PC, far away from the mic and, with headphones on, I was able to hear the sound that I was producing on my desk, while working.

Therefore, in my honest opinion, probably can help to reduce the reflexions that catch the mic on its rear side but, in no way its absorbing the ambiental noise.
In the track, I was able to clearly hear the reflexions in the room (not acoustically treated).

The good thing is that, mounted on the stand and, with that big NT2-A, you seem like an astronaut handling a sophisticated device for spatial exploration and, this can help you to pick up girls. Take a picture of yourself with all this gear and then... forget the screen.

Home Studio: Electric Bass & Guitar direct recording using Pro Tools, Rack 003 and Amplitube

Introduction

Note: this entry was already published in my old Spanish version of this blog around November/2010. I am revisiting it here.

Lucky people will have the opportunity to record their guitars taking the sound of one or more mics directed to their amp's cabs. Less lucky people will have to try to get an acceptable sound by directly recording the guitar, using some kind of amp modeler plugin.
Even if you can mic your amp full kranked, micking technique is complex and, to achieve the best sound is not always so easy. Other techniques, as re-amping, where the clean recorded signal of the guitar is being sent to one or more amps to, finally record back the amplified sound, allows you to work with several mic positions and, several amps and amp' settings until achieve the desired result.
But, this re-amping techniques require good gear (mics, amps, pre-amps) and, you can loose a lot of time moving mics, changing amp settings, etc.

To just record Reference Guitar Tracks, there is nothing as a good amp modeler plugin. You just need to connect your guitar to your audio card, select the right amp in that plugin and take care of the basis sound while recording. If results doesn't convince you, you can later swap the amp model, mics models, speakers models and, whatever other thing that you needed, without having to move yourself out of your chair, until to achieve the wanted sound.

But, sure, amps modelers have their own tricks and limitations.

I'm convinced that Amplitube 3 by IK Multimedia is an excellent simulator, the best in its price range but, I see lot of people that seems to have serious difficulties to get good sound from this plugin. I think you can get decent tone even with Multimedia PC Speakers.

If you are expecting from this plugin to hear the sound of your amp as if you were inside the room where you've put the mics, I think you didn't understand the concept behind Amplitube 3.
Amplitube 3 simulated the recorded sound of an amp that, being catched by a mic, processed by a pre-amp and inserted in a recording track, will be always somewhat different to the "live" sound but, this recording will be very similar to the sound you will hear in any commercial mix.

Evidently, the near field monitors of your home studio aren't able to move the amount of air that an amp cab can move and, therefore, the sensation produced by being in front of your amp disappears and, the sound becomes a bit more compressed, dry and colored by the mic (which position and direction highly affects the recorded sound) and pre-amp.


Studio, Line, Instrument, Mic levels and other stuff

While testing a DI box (see previous blog) I've realized that the input signal was highly superior to the input level I was achieving through other paths, what made me to review the links between my gear, that was previously well configured but, that I've messed up when changing to a new home.

A perfect coupling between the outputs of a device and the inputs of the following one in the chain is of high importance to achieve a clean, strong and free of distortion signal. But.... there are so many types of signal levels!.


Studio level

Gear that processes audio signals (pre-amps, compressors, equalizers, etc) can have inputs or outputs ready for Studio Level signals. The Studio level is the highest signal level of all (+4 dBu).
If we plug a Studio Level output in a input with an inferior level, that high signal will overflow the input, creating a high distortion level and forcing the input to clip the sound.

Usually, Studio Level signals travel thru a cable with connectors type XLR or TRS and, usually they have balanced signals. Impedance is usually around 600 Ohm.

A balanced signal consist into send twice the signal but, with opposite phase to cancel noise.

If your equipment is stereo and has two balanced XLR or TRS outputs (one by channel), they will possibly be a couple of Studio Level outputs.


Line Level

The Line Level is clearly inferior to Studio Level (-10 dB) and, this is the level where the consumer electronics devices usually work (Hi Fi chains, etc.). Apart of such a level, the needs respect of impedances are totally different from those that are required for a mic or an electric instrument (guitar, bass).

Usually, this signal Level travels thru cables with TS (Jack mono 1/4") or TRS (stereo, if it comes from an stereo device) and, they are unbalanced (left channel, right channel and ground).
The impedance level is around 10 KOhm.

Instrument Level

Electric instruments, as the guitar or bass, generate a very low signal but, stronger than a mic. For sure, that signal should be amplified (that's why we use guitar amps!) and, its level is clearly under the Line Level.
Additionally, instruments need of inputs with high impedance levels and, outputs with very low impedance level to achieve their best dynamic range.
The instrument signal usually travel in the same way as the Line signals, trough a cable with Jacks TS (usually) or TRS (if an stereo instrument) and, they are unbalanced.

The input impedance for an instrument should be over the 20 KOhm and, usually around 1 MOhm.


Mic Level

Mics generate very weak signal levels, the weakest of all. The mic needs of an input impedance level lower than the Line or Instrument levels and, needs to be HIGHLY amplified.
Mic signals usually travel through cables with XLR connectors and, they are balanced.
Additionally, some mic types requiere Phantom Power so, they would need an input that can provide those 48V that are a must for the mic to produce some signal (by example, condensor mics).

Impedance level is around 600 Ohm.

This kind of signal is one of the most used in Studio. The reason is that their technical characteristics allow to send signals in longer distances with less lost of quality of such a signal.
In instrument cables, you can notice some degradation around 10 meters (depending on the quality of cable and connectors).


Sample of Signal Level pairing using the Rack 003

Rack 003 inputs from 1 to 4 are inputs with pre-amp. That means that they will accept weak signals that should be lately amplified.

Each of these inputs has to connectors, one XLR connector and one TSR, both balanced (the device will unbalanced them, depending on what are you pluggin in there).

The XLR input is waiting for a Mic Level signal, with the right level and impedance used for such a signal. To connect there any other kind of signal will produce a highly distorted signal, due to the fact that the output gain in this input is the higher one.

In Rack 003, each couple of inputs (1 & 2 and, 3 & 4) have some switch to activate the phantom power. The drawback is that once you switch it on, both inputs have the phantom power active and, this will mean that you cannot link there any equipment that doesn't requires Phantom Power. Be careful, then.
So... what do I have linked to the pair of XLR inputs 1 and 2?.

• Phantom Power is active
• In input 1 I'm directly pluging mics that require phantom power (condenser mics)
• In input 2 I'm connecting the output of the Radial J48 Active DI, that converts the Instrument Level signal of its input into a Balanced Mic output that's being sent thru its output XLR connector.

But, Inputs 1 to 4 have an additional possibility. There is also a balanced stereo jack connector, labeled as DI that waits for Instrument or Line level signals that will be amplified with the help of the pre-amp assigned to that input.

You can not simultaneously use the XLR and DI inputs, even that you can leave the equipment linked there, just one of the two input paths will be active at once.
We will select the input type with the button "Mic/DI" that you will find in the front panel of your Rack (mic = off, DI = light). If the led of that button blinks, this means that this input is clipping and therefore, the level of the signal that you are providing there is higher than foreseen.

What do I have connected to inputs 3 and 4?

• I am directly plugin any kind of instrument to input 3 DI, manipulating the gain level labeled as "Input 3" in the front end of the rack.
• To input 4, I've plugged the output FANTA of the TAD Silencer. This output with speaker emulation of this attenuator/load box has a very low level, as a mic, is balanced and works with an XLR connector. Since it doesn't needs Phantom Power, I am connecting it to input 4, instead of 1 or 2 (with phantom power) to avoid damaging the unit. The gain level of this input can be regulated with the gain knob labeled "Input 4" in the front panel of the rack.

Inputs from 5 to 8 are of type balanced TSR. All them are labeled as DI and, none of those will be amplified (no pre-amp assigned). Therefore, this inputs are waiting for signals already at Studio or Line levels, provided by some external amplifier.

A button in the back panel close to each entry allows you to select the Line level (-10dB, button pushed) or Studio Level (+4dB, button pulled).

What do I have in inputs 5 to 8?

• To input 5 I've connected the LINE output of the Silencer. It has a Line Level (-10dB) and, the gain for this signal is being controlled in the Silencer itself, with the volume control of the line output.
• To input 6, I've connected the balanced output of the SPL Track One (pre-amp). It provides an Studio Level output (+4 dBu), with an XLR connector, converted to TSR in the input side.

Anyway, whichever the method you use to record a guitar, directly to a DI input of the Rack, thru a DI box or, thru a pre-amp or thru a speaker/simulator or attenuator, you should ensure a high, clean and free of distortion signal for Pro Tools.

Carefully check technical specifications related to inputs and outputs of all your gear to be sure that your are properly matching each output to the right input and viceversa.
This can sound obvious but, this creates me a lot of headaches and disappointing results in the past.


What's a good input level?

Mi own experience with Pro Tools and Amplitube 3 say that it's better to have to highest signal level in your input track and, then to regulate the output level with the Master knob of Amplitube 3.

The higher your input signal level, the higher the difference between signal and floor noise and, the best the different amp models and stomp boxes will react in Amplitube 3. A very weak signal makes this plugin to sound really awful.

The average sound (RMS) should be between the yellow zone of the input meter and, peaks should be under the red area but, close to its border. Strum hard chords to control peaks level.

Even that Amplitube 3 has a gain knob (input) and, that knob allows to you to raise the input level inside the amp simulator, results are way worst than leaving the knob in its default position and, providing a higher input level.
Reason is that a weak signal has a very low dynamic range and, signal and floor noise are very close in loudness so, increasing the gain to this kind of signal is also increasing the gain of the floor noise, what results in a noisy sound, noise that is being increased to higher levels by the several amp models and gain stomp boxes.

This is true for every input signal in Pro Tools. It's better to send the input track to an auxiliary track and, to lower the output volume in such a track (after being processed by other plugins or outboard gear).


Searching for the right amp' sound

Once we've achieved a high and clean input signal, this is time to choose the amp model and to tweak controls until getting the wanted tone.

I'm always recording a clean track of the guitar sound, in a mono track that I'm sending to an auxiliary stereo track. This is where I insert that plugins that directly affect to the guitar' sound and, therefore, where Amplitube 3 is being inserted (usually as the first plugin).

First step will be to select one of the available amps, depending on your target sound and, tweak the tone stack, gain and volume to taste.

Since the input volume will be high, the amplified volume will be really higher and, therefore, your auxiliary track will start clipping. It's better to lower the output volume of this plugin by using the Master Knob, without reduce the rest of controls of your amp model. Since we are in Digital Audio world, your peaks should be maintained below -3dB, to avoid clipping the input of the next device/plugin/track in the chain.


Hum and rest of candies

Amplitube 3 are modeling really well the originals, so good that they even model the natural noise of the modeled gear. Therefore, if the original is noisy, your model will be also.

Guitars, and very specially those loaded with single coils, are introducing their own noises and hum. The noise generated by the own amp model couldn't be avoided but, you can get rid of your guitar noises in several ways.

You can use some Noise Gate or Noise Reduction pedal between your guitar and the Rack 003 (as the ISP Decimator G-String) or, you can rely in the Noise Gate that provides the own Amplitube 3 plugin or, you can insert a Noise Gate plugin in your auxiliary track, just before the Amplitube 3 plugin.
To check that you are effectively reducing the guitar noise, put Amplitube in Bypass mode, to be sure that you aren't mixing amp and guitar noises.

Any kind of Gate you can use there, can have its own drawbacks and, you can even ruin your guitar sound if your weaker sounds are very close the the floor noise. To accurately adjust a Gate can be a real headache.

Sometimes, it's better to reduce the noise at the beginning and end of the track and, during the "void" parts or, better, deleting "no info" parts or, doing an automate fade to zero in such a sections (where there is only noise).

This is a concept that many people doesn't realizes about, tube amplifies have their own floor noise. Being Amplitube 3 a great emulator, it will reproduce also such a characteristic noise.


Adjusting the Gain Level

Some of amp models are vintage amps. Vintage amps were more oriented to achieve a clean sound than other thing. By example, the power of an amp meant the power that would provide while standing clean (so, 50W meant, 50W clean but, some more watts after beginning to distort!).

Since the goal was to keep the amp clean at high power levels, you will need to help such a kind of amps to break up with the help of some stomp boxes.
Typically, you used some overdrive, fuzz or distortion pedals to force those tubes to start to distort.

You will need to do the same in Amplitube 3. Some vintage models can sound really cold until you insert some gain pedal before (overdrive, fuzz. booster...).
So, if you feel that your amp lacks some guts, try first some typical overdrive (Tubescreamer) or, some typical distortion (RAT), to get the sweet spot of those "virtual tubes". It works really well.

Once, you've achieved a nice tone, lower the output signal of this plugin with the help of the Master Knob (don't modify your volume or gain). This will allow to further plugins to have some headroom to process the dynamics of this output signal. My recommendation is that the output RMS will be around -20 dB. You will push the complete mix later, with the help of some compressor in the mix buss.

Fine tuning the sound: cabs and mics emulation

This is probably the modules of Amplitube that more evoluted respect of previous versions of this plugin.

The possibility to change your cab, mics and spatial position of mics, brings to you as many possibilities to experiment with the sound as you would have in a real Studio but, without having to leave your chair!.

You can try swapping the cab model. Maybe, you will like more the sound of such an amp paired with different speakers. It always depends on what are you after.

The mic type and, its position, together with the distances to speakers and to other mics have a lot of impact in the sound. Just check different mics for each position, one at once and, play with the respective position of each mic, separately and together.
The rule of 3 applies as in the real world. To avoid phase issues, one mic should be place 3 times to the distance of the the other, respect of the source of the sound. But, for sure, you can play with any position and, maybe some cancellation of phase is just what you were looking for.

Once you have positioned the main mics, you can concentrate in the ambience mics. You can only control here the gap between both mics and, the volume with which this mics will be blended with the main mics.

Don't be lazy trying several possibilities. You have no physical effort, tests are easy and fast, with immediate results. And, the best of all, once you keep your guitar clean take, you can change everything at any time achieving totally different results.


Adding Effects

Not a good idea to start checking stompboxes (other than those that just put the tubes in their sweet spot) before having achieved your foundational amp tone.
Then you can check the stomp boxes and, try as much as you liked trying to get the exact sound you are after. Those stomp boxes are really well modeled and behave really close to the real thing.

Amplitube 3 gives you the opportunity to swap the order in your chain of pedals so, you can check the effect of each pedal before or after others and, choose the combination that better works for you. Everything, without changing a cable or moving a pedal physically so... play with that!. And, remember that if you don't like the results at the end, you will be able to change everything next day.

Note: guitar amplifiers tend to be recorded WITHOUT amp's reverberation. The reverb effect (as well as the delay effect) is usually added in the mix, by using some quality plugin to give the right deep to your mix.
The good thing of Amplitube3 is that with the same recorded clean track, you can try for ever up to get what you wanted. You just need a single good performance over which work later.


Cutting the Mix

Once you fine tuned the sound of your guitar/amp/effects and achieved a nice sounding guitar track alone, it's possible that your track cannot cut the mix with authority.

In previous blog entries, I've discussed about the 3 dimensions of the Mixing process. Please read those entries to understand how to equalize the guitar and rest of instruments, in a way that every instrument is well represented in the stereo image.

EQ usually goes after Amplitube, to enhance or dismiss wanted frequencies, once your foundational tone was achieved.

Giving strength and consistence to guitar' sound

Even not being always strictly necessary, a light processing of the guitar sound, through a compressor can work in several ways: leveling peaks and valleys, providing a more homogeneous and louder volume, adding some touch of color, modify dynamics, adding or resting punch, increasing sustain, etc. We discussed about it in previous blog entries also.

My personal preference for guitars is a light touch of the plugin Fairchild 670 by IK Multimedia. I am more interested on the coloration that gives that plugin to the sound than on a pure compression.

For basses, it's very usual to combine the LA-2A and 1176 plugins but, I also like the results of the Dynamics plugin by Sonnox.

You can increase the "meat" of the instrument' sound, adding one more plugin that can enhance the harmonical content, like the BBE or, Inflator by Sonnox, among other harmonics exciters.

You could use a colorant equalizer also, as the Pulteq EQP-1A, at the end, to enhance bass frequencies to the bass guitar and give more punch.
At the end, the chain of sound processors that you will choose for your particular project can be so variate as your imagination.