My experience is totally different now - as soon as the vocal comes in it draws me and keeps me to it and that guitar line becomes less dominant and just part of the song. I initially didn't really warm to the song when you posted it earlier - my ear kept being drawn the the guitar line that was slightly reminiscent of "Rainbow in the Dark" and I couldn't get past that. I'll offer that the way the vocals sound now in the mix w/ the Trident makes the song work so much better for me. One thing that really helped me on this was that I mixed into the 2-bus compressor, as opposed to getting a mix first and then adding the compressor afterwards.Īny and all thoughts/ questions welcome. nothing dramatic, just enough to glue things together I was just "kissing" the master with very light compression. T-Racks Focusrite Red Opto Compressor on the 2-bus. Waves SSL for drums, T-Racks Neve for backing vox and guitars, Slate VCC for bass guitar (using the API setting). T-Racks, Waves and Slate VCC all used on this. The song is a cover version of Todd Rundgren's "Love Is The Answer". New project - an early mix from a song on Terry's album - no keeper lead vocals yet, the lead vocal that is there is strictly a cue track so that I could set up a mix using a scratch vocal as a reference, so I wouldn't "walk" on the eventual keeper lead vocal track and I'm also waiting on a soprano sax part that is being recorded by a friend of ours at a his studio, hopefully today. Oh, and thanks for listening to the song by the way.
![slate vcc 2 slate vcc 2](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/V/VCC_06-JfLQLBuOeMyGRR97u.PXSW95fYmXwtJ8.jpg)
This used to be one of my favorite compressors, because it handled gain reduction in such a smooth and musical way, and now I can get the exact same response out of a plug processor? It was definitely one of those "Holy ***t! moments for me. My latest knockdown moment came when I heard a plug version of the Focusrite Red Opto Compressor. They can put incredible acoustic spaces into a box ( Bricasti), they can provide pitch correction ( Melodyne and Elastic Audio), and, not only model the EQ and dynamics of a classic channel strip, but can also model the harmonic distortion that occurs when those real pre amps and channel strips were pushed. I used to be a real nay-sayer with most of them.īut when I heard both the Waves and T-Racks Neve 73 and 81 strips actually modelling the gain and harmonic edge of the signal, just like the real Neve modules did, that was kind of a head blast for me. I'm a bit knocked out these days by some of these plugs. I find the fact that you can do the same with high quality plugs to be amazing, that they've come so far with modeling that this can occur. When I was first starting out, late 70's/early 80's, I remember my instructor showing me that by simply inserting an LA2 into a track or bus, how you could pick up the nuances of the it, and that it wasn't uncommon for engineers to actually do this, without doing anything with the gain - just by putting signal through it at unity, you could pick up pleasing nuances. I'd insert a processor onto a track or bus, and immediately hear phase and tonal problems. I've also experienced it going the other way, back when I was using cheap plugs. The virtual circuitry comes into play, my personal access is to the Neve 88RS that came with my UAD plugins. One thing I have personally found, even just putting one in the channel does change the sound, no setting as such done. Makzimia, post: 424912, member: 48344 wrote: An interesting thing happens with these modeled consoles. Written by me, I also did backing vox, guitars, bass, drums.ĭonnythompson/i-still-see-you_jan-28-2015-mix-trident-2-bus-with-fade here's a mix with the VCC Trident on the 2-bus.
![slate vcc 2 slate vcc 2](https://i0.wp.com/allpcworlds.com/wp-content/uploads/2021/10/Download-Slate-Digital-Virtual-Mix-Rack-Complete-2.6.png)
The other remaining choice was the RCA Tube Console setting, and it was just too "thick" and lacked "silk" in the highs.Īnyway.
![slate vcc 2 slate vcc 2](https://digitalaudioservice.de/media/catalog/product/cache/265x265/slate-digital-vcc-2-0-virtual-console-collection-(download).jpg)
I really like the API setting for tracks like guitars and kick/snare, it seems to make things "pop" more than the other settings, but on this, it "popped" a little too much LOL for what I wanted to hear. The SSL had a nicer definition on the lower end, but lacked punch in the mids. The Neve was almost too warm, rounding out the bottom end to where it sounded a bit too thick. I suppose I could have thickened it up if I had driven it harder, but this setting sounded the best, to me anyway. It seemed to give me the nicest balance of overall warmth and clarity. Surprisingly, I ended up choosing the Trident setting, with input levels set at +3 and the Drive setting at +2. As an offshoot of the current thread about the Slate VCC collection, I thought I'd experiment a bit and post a mix I did recently, using the Slate VCC on the 2-bus.