<![CDATA[Blog - Universal Audio]]> http://www.uaudio.com/blog/ Fri, 24 Oct 2014 20:49:03 +0000 Zend_Feed http://blogs.law.harvard.edu/tech/rss <![CDATA[Mixing The Pierces’ “Believe in Me” with UAD Plug-Ins]]> http://www.uaudio.com/blog/producers-corner-the-pierces/
"The beauty of influence - take what you like and then make it into your own," says Christian Langdon.

 

Originally from Leeds, England, Christian “Leggy” Langdon is now based in Los Angeles. A producer, songwriter, multi-instrumentalist, and engineer, Langdon started in the industry over 15 years ago as an artist himself. He signed his first major record deal at 16 years old and has been making music ever since.

Langdon has worked with various new artists such as Rick Rubin's signing, the Skins, UK singer/songwriter Charlotte OC, Swedish Grammy winner Laleh, and Amy Winehouse's god-daughter Dionne Bromfield to name a few.

In this Producer's Corner, Langdon takes us through The Pierces’ new single, “Believe In Me” from their album Creation. He explains how UAD plug-ins help to create a sense of space, emotion, and energy.

“Believe In Me” by The Pierces

Initially, I was intending to also mix the Pierces’ album, but after six months of tracking, playing, and mixing as I went, it became apparent that we should have someone else do the final mix. I was too close to the project by then. To me, part of the producer’s job is to have a clear idea of how to get the best results, even if that means removing yourself from the equation.

BELIEVE IN ME TRACK HERE

Big Toms

The song was originally written in the hip-hop feel of the chorus, but it needed more energy. So the first thing was to look at the beat. Ultimately, the strong tom groove in the verses became a calling card for the rest of the song. I then worked hard at making sure the chorus didn't lose energy when it drops into the half time feel. With the help of UAD plugins, I was able to achieve this.

To that end, I bused all of the toms to an aux and processed them together. I do that a lot — especially when I’m tracking and trying to get a vibe quickly. I also wanted to control the dynamics, correct problem frequencies, and add energy.

Here are the Toms dry:

TOMS DRY

And here are the toms with UAD plug-ins:

TOMS WET

I used the Sonnox® Oxford EQ plug-in, the 1176LN Rev E from the 1176 Classic Limiter Plug-in Collection, the Pultec Pro EQ, Studer® A800 Multichannel Tape Recorder plug-in, and finally the Precision Buss Compressor plug-in.

On the send of the tom auxiliary I sent a large helping to the wonderful EMT® 250 Classic Electronic Reverb plug-in's plate reverb. I really slammed the 1176, adding nice grit and energy, while the large amounts of digital plate reverb help create a vintage-sounding, ethereal space.


Ghostly Background Vocals

The Pierces’ vocals are the number one priority for me when approaching their music. They are so intertwined with each other musically and it comes completely naturally to them, the magic that only sisters can achieve.

This “response” background vocal is one of the hooks in the track, and I wanted it to standout — not just a normal vocal — but a vocal with an ethereal, ghostly feeling to it.

I used an SSL E Series Channel Strip plug-in and LA-2A Legacy on each track, and then sent an aux with Sonnox® Oxford EQ plug-in, Pultec Pro EQ, plug-in, the Teletronix® LA-3A Classic Audio Leveler plug-in, Precision De-Esser plug-in and the Precision Buss Compressor plug-in. I had a Roland® RE-201 Space Echo Tape Delay plug-in and the EMT® 140 Classic Plate Reverberator plug-in on sends for added ambience.

Here are the vocals dry:

VOCALS DRY

And here are the vocals with UAD plug-ins:

VOCALS WET

The Precision Limiter helps keep things in place while the Space Echo and EMT 140 help create that “voice in the back of your head trying to tell you what to do” effect.


Vintage 80's Synths

Although there wasn't an actual manifesto of what type of sound we were wanted for this record, it became apparent after we had finished pre-production that we were making a genuine 80’s album. There was no “80's irony” involved — we just love the way the guitars and synths sound on great 80's records from bands like the Cocteau Twins, Siouxsie and the Banshees, and the Cure.

I treated a synth that needed a little help bringing it into our sonic world. To do this I relied heavily on both the Roland® Dimension D plug-in and the BOSS® CE-1 Chorus Ensemble plug-in. These plug-ins appeared all over the guitars and synths on the entire album.

Here is the synth track dry:

SYNTH DRY

And here it is with the UAD plug-ins:

SYNTH WET

Chorus is a tricky effect for me because if done wrong, it just sounds tacky, if done right, it adds emotion. UAD plug-ins helped us with time travel back to the 80s in the most authentic way I have ever heard.

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Wed, 22 Oct 2014 18:42:21 +0000
<![CDATA[Dave Tozer on Making Hits for John Legend with UAD-2 & Logic Pro X]]> http://www.uaudio.com/blog/dave-tozer/
"You can make a whole record with just UAD plug-ins and be pretty damn covered."

 

"I'm constantly learning about new gear and technology, and even older gear as well," says Grammy-winning New York producer, engineer, songwriter, multi-instrumentalist, and expert UAD-user Dave Tozer. "I’m always searching for more knowledge and new ways to make records sound great."

Tozer’s deep inquisitiveness — and equally deep musicality — have led him to chart-topping success with artists like Kanye West, Jay-Z, John Mayer, and Justin Timberlake. One of Tozer’s most recent triumphs came via collaboration with his longtime musical teammate John Legend; Legend’s critically-heralded 2013 release Love In The Future featured Tozer as executive producer, mixer, and as a writer on multiple songs.

To craft platinum tracks for Legend and beyond, Tozer goes deep with Logic Pro X, UAD plug-ins, and a streamlined workflow that powerfully combines the two. Here are his thoughts on new gear, producing for A-list artists, and how you can synthesize a powerful UAD-plus-Logic production flow all your own.

What's new and exciting on the gear front?
I’m always tinkering, getting new hardware and software, and trying to stay inspired. I was inspired the very first time I picked up a guitar and learned to express myself artistically, and it’s great when I can learn a new piece of technology and feel inspired in the same way.

It’s been really rewarding working with Apple’s new Mac Pro. I use it to power my studio here in New York and it’s been working out great — especially in combination with Logic Pro X and my collection of UAD Powered Plug-Ins.

How so?
It’s all about power. The new Mac Pro represents a higher price point to enter in and it’s not for everybody, but if you’re recording, editing, and mixing records, you need a snappy engine that drives everything.

I have a ton of RAM — 64 GB — which helps when I’m using heavy sample libraries and working on big string arrangements. It’s also not uncommon for pop projects to have one-hundred-plus tracks, so it pays to have a fast machine loaded with RAM.

How important are UAD plug-ins to your production process?
UAD plug-ins give you some of the best tools for realizing your creativity as a producer, mixer, or engineer. If you’re a professional and you don’t have UAD plug-ins, you’re screwing yourself, because they’re great tools for helping you paint the sonic pictures that we all try to create. They work particularly well with Logic Pro X. Obviously, you can use them with any DAW, but the workflow I love with Logic Pro X has to do with its Library, which is something Pro Tools doesn’t really have.

How does that work?
If you’re working on a track, you can have a single windowpane for your plug-in library. And if you have your plug-ins presets in AU format, all of your presets appear on that list. For example, you can click on something like, say, the Fairchild 670 from the Fairchild Tube Limiter Plug-In Collection and any factory preset — or preset that you’ve created — will come right up on the screen. All you have to do is scroll through your presets, click on what you want, and you access it immediately without having to dive into the plug-in’s interface, or drill down into pop-up windows or sub-menus.

“Make sure that your software is patched up and ready to rock when you need to be creative.”

That sounds helpful.
It’s great because it allows you fast access. For me, it’s all about workflow. The whole idea is to eliminate any blockages from your creativity — and when you’re interfacing with a computer, there can be many. [Laughs]

How about automation when working with UAD plug-ins and Logic Pro X?
The automation is very straightforward and being able to have sample accuracy on plug-in parameters is great, especially if you’re automating things like LFOs or filtering, elements that really need to be super tight. You can choose to draw automation or set hardware controllers to the plug-in, which gives a tactile feel to the plug-ins.

Can you offer any further tips on nailing the Logic Pro X / UAD workflow?
UAD plug-ins feature some awesome presets that are built by the pros, but some come in AU preset standards, and some don’t. When they don’t, my interns and I will make them ourselves, just going to every plug-in preset and saving it as an AU preset so it populates the Library list in Logic.

The Library is dynamic, so if you click on a software instrument input, it’ll give you a list of every software instrument in your rig. Then, once you do open a UAD plug-in, it will dynamically change to show you all of the presets you have for that plug-in. That’s really powerful in terms of workflow.

When you get used to knowing what UAD plug-ins you’re going to use on your mix bus, save them in a template. Just like hardware pieces in your room would be, make sure that your software is patched up and ready to rock when you need to be creative.

Also, you can create what are called Patches in Logic Pro X, which make it easy to recall complex effect chains and routing configurations. For example, if I’ve dialed in a great combination of an 1176, a Pultec, and a Fairchild, and maybe an Ampex tape machine to make it sound like I’ve recorded the vocalist to tape, and maybe even a send to an aux reverb channel, I can store it all as a Patch.

There’s also a cool feature called Track Stacks, which allows you to pack multiple tracks together. When you use the summing option, all the tracks get submixed through an aux channel.

How does that work in terms of your production flow?
I especially use it for recalling layered instrument sounds. Let’s say that you’re loading a Patch called “Mike’s Crazy Piano Sound.” You could load a Track Stack, which might include two or three software instruments — say, a piano, some weird, plunky sound, and then a Moog bass. You’re triggering them all together when you’re clicked on the Track Stack, and all of your routings go to that same summing aux. It’s like if you were to route the outputs of those individual tracks to an aux, except that Logic Pro X does it really intelligently and automatically. You can save all of that routing, all of those settings, as a single Patch.

“UAD Powered Plug-Ins give you some of the best tools for realizing your creativity as a producer, mixer, or engineer.”

That does sound particularly helpful with vocals.
If you have a whole vocal chain of UAD plug-ins saved as a Patch, all you have to do is select the Patch in the library and boom, you have the whole thing set to record or mix. I don’t think you can do that in Pro Tools. You’d either have to have that stuff already loaded into your template or just manually load everything.

What are some of your go-to plug-ins when you’re mixing John Legend?
For John’s last album that I produced, Love In The Future, we used a lot of the Ampex® ATR-102 Mastering Tape Recorder Plug-In. I cut all of John’s vocals on the hardware Ampex unit as well — we got great results from using the hardware and software versions on different things. I tend to go for character when I’m using these tools, and I really like the Ampex plug-in for that.

Beyond that, I used a lot of the 1176 Classic Limiter Plug-In Collection and the Fairchild Tube Limiter Plug-In Collection which I love on vocals and various instruments. I’ve also used the Moog® Multimode Filter / Multimode Filter SE Plug-In which sounds incredible. I actually own a Moog Voyager, but on the UAD plug-in, you have a bit more variety on the kind of filtering you can do, which is cool. The voyager’s filter has a serial low pass/high pass mode which basically acts as a bandpass filter, but the UAD Moog filter has a choice of low pass, high pass, or bandpass, and it sounds fantastic.

What about reverbs?
What I certainly use on records, and love, is the EMT® 140 Classic Plate Reverberator Plug-In. It sounds brilliant and I’ve gotten to know how to dial it in well, I think. I also love the Roland® RE-201 Space Echo Tape Delay Plug-In. Sometimes I just use it on the Spring Reverb setting, though I do a lot of automating in real time, as I’m playing back, with both that and the EP-34 Tape Echo Plug-In I try to get them to freak out and do the weird things that analog delays do, when they start whacking out the pitch if you change the time-settings just right.

What’s an example of that real-time automation?
There’s a track on John’s album called “Caught Up” where, at the end, you can hear me working the time and settings of the Space Echo with John’s vocals. The music’s dropped out and it ramps up in pitch. Kinda freaky. [Laughs]

Another one I’ve used a good bit — and you can hear on John’s and Kimbra’s vocals on the song “Made to Love” — is the Helios™ Type 69 EQ Plug-In. That was a very adventurous production. There are a lot of filtered vocal sounds on that record where I used the Helios to crank up the midrange — it gives this really cool effect right around 2K, and puts an interesting curve on the low end. Another one I used a lot for that project was the Cooper® Time Cube Mk II Delay Plug-In. You can get some really interesting, unique delay sounds out of it.

“UAD Powered Plug-Ins give you some of the best tools for realizing your creativity as a producer, mixer, or engineer.”

Can you talk about plug-ins you used for the track "All Of Me?"
For John’s vocals on that, I used a Neve® 88RS Channel Strip Plug-In, the Pultec MEQ-5 & EQP-1A together from the Pultec Passive EQ Plug-In Collection and the Fairchild 670. I also used the EMT® 250 Classic Electronic Reverb Plug-In in this particular case, and the Cooper Time Cube.

On his piano, I used the Neve® 33609 / 33609SE Compressor Plug-In, the Helios, Pultec, Fairchild, and SSL E Series Channel Strip Plug-In. I used the Roland® Dimension D Plug-In on the robot voice — that’s a cool plug-in. I also used the SSL G Series Bus Compressor Plug-In and Pultec on the output buss.

Did you use any particularly personalized settings on that song?
In terms of the Fairchild on the vocal, nothing too extreme. I did some EQ carving and compression from the Neve 88RS, but that was subtle as well. There was a lot of adventurous production on that album as a whole, though. I ended up doing some pretty cool stuff. The song “Asylum” is a great example of some of the more adventurous production & sonics. Somewhat “Dark Side of the Moon” inspired.

In general, do you only use certain UAD plug-ins on certain instruments, or is it all up for grabs?
I use the UAD lineup across the board on everything — a lot on buses. I do like the Fairchild on things like background and lead vocals, but also on bass guitar, for example, and I might tend to use the API® 500 Series EQ Plug-In Collection on guitars. For more refined sounds, I'll go to the Precision Enhancer Hz Plug-In or Precision Enhancer kHz Plug-In and other tried-and-true pieces like the 1176 collection, or Teletronix® LA-2A Classic Leveler Collection. I go to those a lot because they just sound great. You can make a whole record with just UAD plug-ins and be pretty damn covered.

“Use the combination of your ideas and the artist’s to create something better than what either of you could have done alone.”

Stepping back from the tech — what’s producing really all about for you?
It’s not about how awesome you are as a musician or an engineer — though that certainly helps. It’s more about how you interact and work with people, and if your taste lines up well with the stuff they're working on. You have to have good taste!

When working with a big artist, what should a producer always keep in mind?
It’s about trying to create the best environment you can for the artist. If you’re working in the studio with someone like John Legend, you want to create the right kind of atmosphere, to keep the vibe and spirit positive. Then you can really get at the work of bringing out the greatness of that artist.

Sometimes you also have to hold the artist to a higher standard, and it can be a fine line, knowing where that standard is and how to help the artist elevate his or her game. That comes with experience.

You also have to bring what you have that’s unique to the table and let that shine. Your job is partly to enhance ideas, to use the combination of your ideas and the artist’s ideas to create something better than what either of you could have done alone. That’s the key.

Photos: Michael Vecchio

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Fri, 17 Oct 2014 23:45:54 +0000
<![CDATA[Apollo Artist Sessions Vol. IV: Joey Waronker w/ Other LIves' Jonathon Mooney]]> http://www.uaudio.com/blog/apollo-artist-sessions-IV-joey-waronker/ This short video features drummer/producer Joey Waronker (Beck, Atoms for Peace), alongside multi-instrumentalist/songwriter Jonathon Mooney from Other Lives, recording and building the piece, “Giants” — layer-by-layer — exclusively through an Apollo High-Resolution Interface with Realtime UAD Processing. See and hear the Apollo’s premium mic preamps, high-end converters, and award-winning UAD Powered Plug-Ins in action simultaneously in this music production showcase.

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Wed, 08 Oct 2014 20:17:39 +0000
<![CDATA[UAD-2 Satellite Thunderbolt Getting Started Video]]> http://www.uaudio.com/blog/satellite-thunderbolt-getting-started-video/ Mon, 06 Oct 2014 23:09:16 +0000 <![CDATA[AMS RMX16 Digital Reverb Plug-In Trailer]]> http://www.uaudio.com/blog/ams-rmx16-reverb-trailer/ The unique and lush reverb programs of the AMS RMX16 are instantly recognizable. From U2 and Peter Gabriel to Radiohead and Rihanna, this reverb unit has left its mark for more than 30 years. Developed by original hardware designer Mark Crabtree, the new AMS RMX16 Digital Reverb plug-in is available exclusively for UAD-2 hardware and Apollo interfaces.

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Mon, 15 Sep 2014 21:29:04 +0000
<![CDATA[5-Minute UAD Tips: AMS RMX16 Digital Reverb]]> http://www.uaudio.com/blog/5-minute-uad-tips-mx16-reverb/

The unique and lush reverb programs of the AMS RMX16 are instantly recognizable. From U2 and Peter Gabriel to Radiohead and Rihanna, this reverb unit has left its mark for more than 30 years.


Developed by original hardware designer Mark Crabtree, the new AMS RMX16 Digital Reverb plug-in is available exclusively for UAD-2 hardware and Apollo interfaces.


In this 5-Minute UAD Tips video, you’ll learn how to apply the unique power of the new AMS RMX16 Digital Reverb plug-in to your mixes.


Learn how to:


  • • Create a piano reverb “choir” using the Ambience Program

  • • Use Reverse, Nonlinear, and Plate Programs for unmistakably ’80’s drum sounds

  • • Craft massive rhythm guitar parts with the lush Echo Program

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Fri, 05 Sep 2014 16:49:10 +0000
<![CDATA[Softube Summit Audio TLA-100A Trailer]]> http://www.uaudio.com/blog/summit-audio-tla-100a-trailer/ The Summit Audio TLA-100A Compressor has been a studio mainstay since its introduction in the 1980s. Its trademark punch and presence — as well as its intuitive interface and controls — have made this notoriously smooth sounding compressor integral to countless records for nearly three decades.

Developed by Softube, you can now track and mix with an exacting emulation of this modern tube/solid-state classic with the Summit Audio TLA-100A Compressor plug-in for UAD-2 DSP hardware and Apollo interfaces.

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Wed, 27 Aug 2014 17:07:20 +0000
<![CDATA[Producer Salaam Remi on Making Hits with Alicia Keys, Nas, and More]]> http://www.uaudio.com/blog/salaam-remi/
"Robots get programmed — artists get inspired," says Salaam Remi.


"My creations are based upon what I want to hear that I’m not already hearing somewhere else," says multi-platinum producer Salaam Remi, speaking from his office in New York City. "I create what I’m missing."

A simple premise, perhaps, but one that has yielded massive success for Remi, who began his career as a keyboardist on Kurtis Blow’s 1986 album Kingdom Blow. Since then, Remi has gone on to produce for Nas, Usher, Amy Winehouse, Miguel, Whitney Houston, Leona Lewis, and many others. Remi was also nominated for a Grammy in 2012 for Producer of the Year and he has been Executive Vice President of AR/Production at Sony Music since 2012.

Amongst his growing duties as executive producer on a wide range of projects, Remi still found time to co-write and co-produce Alicia Keys’ 2012 smash "Girl on Fire," and just last year, he also released his own Grammy-nominated debut album, ONE: In the Chamber.

Here’s what Remi had to say about balancing his duties in the studio and boardroom, fusing disparate influences throughout his impressive body of work, and how UAD Powered Plug-Ins and the Apollo interface has streamlined his process — and lightened his load.

What's new and exciting?
At this point, a lot of what I do is executive producing and mixing more records than I’m actually creating, as well as going back and pulling up projects that I’ve done over the past years, mixing those projects, and putting them to the fore. An exciting one for me is an artist named Liam Bailey, who I’ve worked with over the last five years. He was on different records by a group called Chase and Status and had a big UK record called "Blind Faith." I produced and wrote with him, and that’s the key thing at the moment where I’m using my engineering and recording skills, outside of the executive space.

How are the roles of producer and executive producer different for you?
Producing is very hands-on. As the executive producer, I’m more responsible for pulling things together and handling the financial aspects of a project. It’s more like coming in every few weeks, seeing if things sound good and if everybody is working well together, and offering advice. The producer is more day-do-day into what needs to happen as far as making a record and shaping it with the artist.

Do these roles ever go hand in hand?
I see executive producing as adding another set of ears, like having a friend hanging out, as if I wasn’t involved with the business of the project. I might suggest using a snare drum here, or putting a different bass there, just sharing ideas and thoughts on ways to make something better. Ultimately, the decisions are up to the artist.

I see it like this — robots get programmed and artists get inspired. If I suggest something to the producers and artists that I’m executive producing, it’s not for them to do exactly what I say. It’s for them to take some inspiration from this other point of view and apply it.

How do those influences play into working with an artist like Nas?
Nas and I are friends, and we like a lot of the same music — and our conversations about music spill out into our creations. He’ll say something like, "Hey, remember that song?" Sometimes I might sample it, but other times I might just create something that’s in the zone of the track that he was talking about.

And Alicia Keys?
“Girl on Fire” was the same thing, a conversation that developed into being a record. It came out pretty easily, to be honest. I usually work that way — when I’m speaking with people who have talent, our conversations can quickly turn into audio and musical conversations.

“Even though I’m a vintage freak and I track through a lot of old analog equipment, I still use UAD Powered Plug-Ins.”

How exactly did that manifest with “Girl on Fire?
I came up with some chord changes on my laptop and was playing with some beats and also a guitar riff. Then Alicia started singing to it. Jeff Bhasker came in and started playing the piano to the chord changes that I had in the guitar part. Eventually, we all sat together and worked on it and, three or four hours later, we had the basis of that song.

“The Roland RE-201 Space Echo plug-in
gives me a nice clay to work with.”

When you’re mixing, what role do Universal Audio plug-ins play?
In all of my studios, I have an Apollo Interface or UAD-2 Satellite DSP Accelerators hooked up. Even though I’m a vintage freak and I have a lot of the older analog equipment that I record through, I still use UAD Powered Plug-Ins.

So even though I record through my hardware Neve 1073, I’ll still utilize the UAD Neve 1073 Preamp & EQ Plug-In Collection, the Teletronix™ LA-2A Classic Leveler Collection, and the Roland® RE-201 Space Echo Tape Delay Plug-In. So whether I’m in New York, in my space in London, or in Miami or Los Angeles, I work mostly on my laptop, plug into the interface wherever I’m at, and still have access to the same sounds.

Can you talk about your solo album, ONE: In the Chamber?
ONE: In the Chamber is my first vocal-based album that I’ve done myself. I did an instrumental album previously called Praugenosis that I was going to release a vocal version of, but I’d already taken so many of those tracks and put them in other projects that I decided to look at my catalog again — I realized that I had a lot of songs that hadn’t been released and that involved my orchestral background, as well as the hip-hop, reggae, or jazz angle from the music that I love. So I was able to get in and create a body of work out of the songs that I’d already written. One song was “One in the Chamber” featuring Akon, so I decided to name this project, it being my first album, ONE: In the Chamber.

Did you use the Apollo interface on that album?
For sure. Some of it started before I had the Apollo, so I used my UAD-2 Satellites DSP Accelerators. In general with my mixing process, I usually continue to mix and mix until the final minutes. And because I was traveling a lot between Miami, Los Angeles, London, and New York while I was finishing that album, I was able to open my mixes and continue to work on them without needing to even be near my full studio. With a great set of monitors, the Apollo, and my plug-ins, I was able to continue without having to recall the physical gear.

Utilizing the Apollo with the Thunderbolt connection does a lot for me. I work at 96 kHz, so even though working on the project at that resolution eats up more power, I’m really happy with the sonics that I’m able to push out using it. A lot times these days, I work off of powerful laptops, and I’m excited to be able to expand what I do with them in every way.

Has this technology changed the way you work?
Yes. Over the years, there were times when I had to ship two or three full racks of vintage gear all over the country. Now, that equipment is able to be there virtually because I have Universal Audio hardware with the plug-ins attached that are close replicas of the analog originals. Now, I’m able to really get the sounds that I’m used to, wherever I am.

When you had to ship analog gear, did you have to reset every single parameter once you opened it up again?
Oh yeah, we formulated different ways of dealing with it. We sometimes took pictures of the gear settings — at one point, we had a Hi8 video camera to help us remember how things were set and to keep lining it all up. At this point, I guess we would be using iPhone pictures [laughs], but it definitely means something now to just be able to pull up the plug-ins and do it.

When you’re mixing, what is your go-to UAD reverb?
The Roland RE-201 Space Echo plug-in — I love messing around with the knobs and toying with the sounds I’m putting into it. I don’t have favorite settings that I always go to. If I feel like I have nice clay to work with, I can always make something.

When you’re experimenting with a reverb like that, how do you know when you’ve hit the right setting?
I feel it. When something’s right, it’s like an unspoken language and it inspires me. It’s like picking vocal takes — sometimes you just feel it and that’s it.

Do you have other go-to UAD plug-ins?
The Neve 1073 is usually my thing. I mess with that a lot. Also, the EMT® 140 Classic Plate Reverberator Plug-In — I use those more than anything else. Sometimes I use an API Vision Channel Strip or the Pultec EQP-1A on bass. When I’m recording, I usually track on a Neve board, or at least through Neve preamps. With drums in particular, I usually continue with the Neve aspect within the box, using UAD tools for that as well.

Why do you prefer Neve over, say, SSL?
I’m usually looking for something that has a bit more grit to it, rather than smoothness. The Neve pushes the grit for me.

How do you get acquainted with new instruments or plug-ins?
If I’m in a music store, I sit down and use whatever tool to try to create some-thing. If I’ve never played it before, I see if I can get three or four ideas that feel good in a few minutes. I do that with plug-ins, keyboards, guitars — any instrument — if I feel things just come out without me forcing myself, then I keep moving with it.

The UAD plug-ins are great tools, but once you’re introduced to great tools, it’s about what you do with them. You’ve got the tool shed — so find your passion and build.

For more on Salaam Remi, visit him online at salaamremi.com.
Photos: Juan Patino; juanpatinophotography.com.

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Mon, 25 Aug 2014 21:27:26 +0000
<![CDATA[5-Minute UAD Tips: Ocean Way Studios]]> http://www.uaudio.com/blog/5-minute-uad-tips-ocean-way-studios/ The Ocean Way Studios plug-in for UAD-2 and Apollo interfaces is unique among ambience and reverb plug-ins. Using Dynamic Room Modeling, it gives you the ability to immerse your sounds in the Bill Putnam-designed rooms at Ocean Way Studios — using a legendary collection of vintage microphones, expertly placed on your sources.  


In this 5-Minute UAD Tips video, you’ll learn how to harness the unique power of the Ocean Way Studios plug-in.


Learn how to:


    ● Experiment with mic type and distance to get a range of jaw-dropping sounds
    ● Use Re-Mic mode to bring virtual instruments into the rooms of Ocean Way
    ● Re-mic electric guitars to make them fuller and more “real”
    ● Use Reverb Mode to blend drums and a rhythm section 

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Tue, 12 Aug 2014 22:48:21 +0000
<![CDATA[UAD elysia• alpha compressor and mpressor by Brainworx Trailer]]> http://www.uaudio.com/blog/elysia-alpha-mpressor-trailer/ Designed by Brainworx, the elysia• alpha compressor and mpressor plug-ins for UAD-2 and Apollo interfaces are faithful emulations of the world-class hardware.


 A powerful tool for mixing and mastering, the elysia• alpha compressor raised the bar upon its release in 2006 with innovative functions and uncompromisingly 100% discrete, ultra transparent, Class-A circuit.  


The elysia• mpressor plug-in, on the other hand, is an essential tool for modern dynamics processing.  The mpressor can produce fat and freaky sounds with punch, beautiful coloration, and extreme processing options.

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