<![CDATA[Blog - Universal Audio]]> http://www.uaudio.com/blog/ Tue, 22 Jul 2014 21:20:56 +0000 Zend_Feed http://blogs.law.harvard.edu/tech/rss <![CDATA[UAD Thermionic Culture Vulture Plug-In Trailer]]> http://www.uaudio.com/blog/uad-culture-vulture-trailer/ Tue, 08 Jul 2014 17:09:39 +0000 <![CDATA[Softube Valley People Dyna-mite Plug-In Trailer]]> http://www.uaudio.com/blog/valley-people-dyna-mite-trailer/ Tue, 08 Jul 2014 16:57:34 +0000 <![CDATA[Softube Tonelux Tilt EQ Plug-In Trailer]]> http://www.uaudio.com/blog/tonelux-tilt-trailer/ Tue, 08 Jul 2014 16:29:40 +0000 <![CDATA[The Black Keys on Creating Hits with UAD Plug-Ins ]]> http://www.uaudio.com/blog/artist-interview-black-keys/
The Black Keys — Dan Auerbach (left) and Patrick Carney (right).

The Black Keys — drummer Patrick Carney and singer/guitarist Dan Auerbach — are a stunning story of musical evolution at every level: artistic, commercial, and certainly in terms of production acumen and ambition.

From home-recording their first indie album—2004’s The Big Come Up—on a Tascam 38 eight-track machine in Carney’s Akron, Ohio basement, to creating their new number one album Turn Blue with super-producer Danger Mouse (Brian Burton) at LA’s Sunset Sound Studio 2, no other band has so thoroughly mined the lo-fi, budget-analog ethos for inspiration.

And yet, over the course of their last few albums, they’ve successfully married that approach to a dizzyingly high level of cinematic soundscaping and top-shelf engineering — analog audio stalwarts who’ve stayed true to the organic, warts-and-all sound of analog, while embracing the digital age.

Carney and Auerbach are also each accomplished producers. Auerbach has produced records for Dr. John, Hacienda, and the most recent Lana Del Rey release, Ultraviolence. He also won a Grammy in 2013 for Producer of the YearCarney has produced bands such as The Sheepdogs, Tennis, and Houseguest among others.

Here, the duo talk about their recording process and how UAD Powered Plug-Ins are essential to their careful balance of raunch and refinement — key tools in their quest to make epic music on a very human level. 

Turn Blue is your third record with Brian Burton, and songs like “The Weight of Love” seems to go even further toward that big, cinematic direction that started showing up in songs like “Too Afraid to Love You,” on Brothers.
Patrick Carney: Every record sounds different, probably just because we get into different types of music over time, and we learn new things about recording, writing, and producing every time. We’ve worked with Brian for seven years now, and at this point, it’s basically like a three-piece band — it’s extremely collaborative. We figure out and refine all the parts together.

Can you describe that process?
Patrick Carney: We’ll write bass lines together and fine-tune guitar and drum parts; though I will say that pretty much all the drum and guitar parts do still start with either Dan or I coming up with an initial idea. From there, we work with Brian on recording and arranging the songs with bass and keys, very much as if we were actually a four-piece, even though there are technically just two of us in the band.

"I always have the UAD Precision Limiter plug-in on the mix bus."

Was it nerve-wracking — or perhaps liberating — to write, arrange, and record Turn Blue entirely in the studio?
Dan Auerbach: Well, we’ve written in the studio before, so it wasn’t a new experience. The songs can start from any small idea — it’s all about finding that little thing that sparks your interest and makes you want to investigate further. There is no right or wrong way. And besides the keyboards, we actually spent very little time on the instruments and tones. We brought instruments we were familiar with and had used before, and instead opted to spend more time focusing on the songs themselves — the changes, the melodies, etc.

Patrick, your drum sounds have evolved from the sprawling, very dead kit sounds on the early records, to the fatter, crunchier, and more ambient sounds of the last half-decade.
Patrick Carney: Well, I’m very particular about drum sounds, and Dan’s very particular about his guitar sounds. And though we’re both very capable of achieving the kind of sounds we want, we leave it to the engineers to put their own stamp on the tones as well.

As far as my drums sounds are concerned, I like a little bit of space around the drums, and I like the toms to be round, but I don’t like any reflection. In a way, I don’t want a room sound. I want the hi-hat to be like the Hi Records hi-hat. [Memphis label Hi Records’ roster included Al Green and Ann Peebles, and their records often featured house drummer Howard Grimes -Ed],

I want the kick to sound like early-’70s, poorly recorded tape, like that old Memphis rock. And I want the snare drum to have some sizzle, depth, and fatness, but at the same time, no ringing at all.

Dan, you get very distinctive guitar and vocal tones. Is there a particular production philosophy behind the way you capture sounds?
Dan Auerbach: I’m a believer in “less is more” and “simpler is always better” when it comes to micing. For vocals, I prefer a hand-held microphone like a Shure SM58, and only use large diaphragm mics for songs that are more delicate and maybe call for greater detail to be captured. And I prefer small tube amps for guitar, with built-in reverb as opposed to outboard.

So you’re not necessarily auditioning a million different rigs?
Dan Auerbach: I believe in simplicity, and if something doesn’t grab my attention fairly quickly, I’ll move on and try a different pedal, amp, or guitar. Once I find a compatible guitar and amp combination, though, I’m happy to stick with that for the remainder of the session. After all, it’s the player, not the gear.

“UAD plug-ins are amazing these days — very intuitive and easy to get good sounds on. I’ve used them on all my projects for the last few years.”
—Dan Auerbach

Patrick, do you have a particular method of capturing and building your drum sound?
Patrick Carney: I almost always record with just four mics — typically an Electro-Voice RE20 on the kick, an SM57 on the snare, and two Coles ribbon mics for overheads, usually with the Glyn Johns technique. [With some variation, the classic “Glyn Johns technique” features a kick mic, a snare mic, a side mic for cymbals/floor tom, and a single overhead about three-feet above and roughly centered between the kick and snare.]

How did you arrive at this interest in using fewer mics on the drums?
Patrick Carney: Well, when we first started recording, I would put mics up all over the place. The first real studio we went into had something like twelve mics on the drums, and of course, I wanted to use them all! It wasn’t until maybe our fourth record that I started realizing that using fewer mics — and putting them in the right spot — made the drums sound better.

Still, when I first tried the Glyn Johns technique, it sounded like shit. But I’ve recorded five or six bands this year — all with that technique — and it sounded great. The trick is talking to the drummer about not going crazy on the cymbals. In fact, I’m at the point with it now where I will almost always overdub the crash cymbal.

"With every record I do, I learn new things," says Patrick Carney.

Can you talk about overdubbing the crash? What are the advantages?
Patrick Carney: I started doing that around the time we made Brothers. I didn’t even have a crash cymbal in my drum setup, so I literally couldn’t play it when tracking the main performance.

By doing that, you leave a lot more room for the overheads to pick up the actual drums, so you can really hear the thickness of the drums through the overheads. And you don’t even necessarily need two overheads. We had a great engineer named Mark Neill who recorded most of Brothers, and he used one old Neumann KM 84 tube mic as an overhead. That’s what I’d been doing until recently, when I switched to the Glyn Johns technique. And that’s all I really need. Sure, if I have a song that’s particularly heavy on the floor tom, I might add a spot mic there, but even then I’ll thin that way out, just to get the attack.

What do UAD plug-ins bring to the table for you guys on your records and various projects?
Dan Auerbach: The UAD plug-ins are amazing these days, very intuitive, and easy to get good sounds on — and easy to quickly change if you’re not getting the sound you like. I’ve used them on all my projects for the last few years.

Patrick Carney: For me, the SSL G Series Bus Compressor plug-in usually comes first on my drum bus for just a little bit of gain reduction. Rather than compress individual drums, I’ll just compress all the drums together on that main bus.

Then I’ll use the Pultec EQP-1A plug-in for EQ, and the Studer A800 Multichannel Tape Recorder plug-in or the Ampex ATR-102 Mastering Tape Recorder for saturation/distortion. If I’m going to put reverb on it, I’ll just send a bit of that whole bus submix out to a reverb bus, generally with a bit of the Ocean Way Studios plug-in or the EMT® 140 Classic Plate Reverberator plug-in.

I actually have a nice antique plate reverb, but the UAD EMT 140 comes pretty close. In fact, my plate is darker sounding, and if I roll just a bit of high-end off the UAD EMT 140, you really can’t hear the difference at all.

What is it about the Ocean Way Studios plug-in that appeals to you?
Patrick Carney: The Ocean Way Studios plug-in gives me that subtle space around the drums. I use a Neumann U47 in cardioid as a room mic, place it close to the kit, dial-in a bit of the Ocean Way Studios plug-in, and I get exactly what I want— no slapback or big reflection — just a nice little bit of depth.

“The Ocean Way Studios plug-in gives me that subtle space around the drums — just a nice little bit of depth.”
—Patrick Carney

Do you have any other “secret weapon” plug-ins for drum sounds?
Patrick Carney: The Roland® RE-201 Space Echo Tape Delay plug-in is another one of my favorite plug-ins, and having the sync function on that is one of the most useful things, especially if you want to put a dub echo on a snare and automate it on and off. I’ll keep that same drum bus going, with the reverb, and I’ll add a delay.

If I want to hit the snare with some Space Echo, I’ll just have a send from the snare directly to the delay. And it actually ends up sounding, to me, more like an analog desk, where you would be having an eight-bus return, and an AUX return. And if you were compressing those drums going to the bus, you wouldn’t be compressing the Sends—that sounds more natural to me.

Do you employ any UAD plug-ins for mixing?
Patrick Carney: When I’m mixing, I like to use the Precision Limiter plug-in. I always put that on the mix bus, and try to get between 2 and 4 dB of limiting, but I find that it’s completely transparent if you set it right. I love that thing. I’ll also use the UAD SSL G-Series Bus Compressor plug-in, with about a 4 dB peak, for a fuller attack, and I’ll use the auto-release sometimes, and then hit it into the Precision Limiter.

Sometimes I’ll use the UAD SSL G-Series Bus Compressor, followed by the Manley® Massive Passive EQ plug-in, or I’ll send a Pultec EQP-1A directly into the Precision Limiter. That’s pretty much my fake mastering! But like I said, with every record I do, I’m learning new things.


Photos of Patrick Carney: CJ Hicks

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Tue, 24 Jun 2014 20:27:51 +0000
<![CDATA[Mixing Volcano Choir's "Byegone" with UAD Plug-Ins]]> http://www.uaudio.com/blog/producers-corner-volcano-choir/
Justin Vernon (Left) & Brian Joseph

Brian Joseph is a Grammy Award-winning mixer and recording engineer based in northern Wisconsin who has worked with the likes of Bon Iver, Sufjan Stevens, Phox, S. Carey, The Fray, The Blind Boys of Alabama, Kathleen Edwards, and Givers. Joseph works mostly out of April Base Studios and his own personal studio in Eau Claire, Wisconsin. In addition to making records, Joseph does a fair amount of mastering and live mixing with bands he has worked with in the studio as balance to his “desk job."

Volcano Choir’s Repave came to us fairly realized from the band members, so it was up to co-mixer BJ Burton and myself to push the energy and make the landscape in front of us move and breathe. While working on this record presented many unique situations, one I had never encountered was to record the drums last

The band’s drummer, Jon Mueller, is such a unique and recognizable part of Volcano Choir’s sound, I am going to focus on the drum character we captured and further sculpted using UAD Powered Plug-Ins on the track, “Byegone.” 

Volcano Choir — drummer Jon Mueller is far right.
Volcano Choir - Byegone

 

Taming Treble Information

The drums were tracked to tape before making their way into Pro Tools. Their overall levels — especially the overheads — are a prominent feature on this track and needed to be far forward in the mix, without sounding shrill and taking up too much high-end real estate.


Here are the overheads without the UAD plug-ins.

OHs - Dry

Although they were tracked to tape running through a pair of hardware dbx 160 VU compressors, the overheads still needed some saturation as well as some high- frequency cuts. So once in Pro Tools, we inserted the Studer® A800 Multichannel Tape Recorder Plug-In and the Harrison® 32C / 32C SE Channel EQ Plug-In. Here are the overheads with the Studer and Harrison UAD plug-ins.

OHs - UAD

The UAD Harrison and Studer really smooth out the tone, softening up the cymbal hits so they could be cranked in the mix without being painful. This treatment also had the benefit of leaving the guitars a little more space to sparkle. 

 

Enhance Tone and Space

Once in the box, the use of parallel compression on the kick, snare, and toms using the SSL G Series Bus Compressor plug-in filled out the sound niceley. In addition to the bus compression, I used a light amount of dbx® 160 Compressor / Limiter plug-in and a heavy dose of the SPL® Transient Designer plug-in on the kick, an EMT® 250 Classic Electronic Reverb plug-in on the snare, and an 1176LN Classic Limiting Amplifier plug-in on the room mic.

Here are the drums without any processing.

Drums - Dry

And here are the drums with the UAD processing on the individual tracks and drum bus.

Drums - UAD Wet

The SSL on the bus added an even greater sense of urgency to the performance by lengthening the waveforms between hits, while the dbx and SPL thicken the kick’s overall sound, attenuates a small of amount of its attack, and lengthens the sustain.
The snare sound greatly benefited from the 250, as we had it pretty tightly gated, and it was in need of a clean sounding space without all the bleed from the rest of the kit.

Lastly, the room mic received a liberal amount of coloration and compression from the 1176LN plug-in. Since I hesitated to get aggressive enough with our hardware 1176 on the way in, using the plug-in version brought the grit and dirt it was missing.  It makes a pretty drastic difference when placed in the mix.

brianfjoseph.com

Twitter & Instagram: @crudplyson

 

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Tue, 24 Jun 2014 19:18:37 +0000
<![CDATA[5-Minute UAD Tips: Magnetic Tape Plug-In Bundle]]> http://www.uaudio.com/blog/5-minute-uad-tips-magnetic-tape-bundle/ The Magnetic Tape Plug-In Bundle for UAD-2 and Apollo interfaces features the Ampex® ATR-102 Mastering Tape Recorder Plug-In and Studer® A800 Multichannel Tape Recorder Plug-In. Each of these classic tape machines bring warmth and cohesion to any kind of music.


In this 5-Minute UAD Tips video, learn how to use the rich saturation and unique characteristics of  analog tape in your workflow.


Learn how to:


  • • Use the Studer A800 for incredibly vivid drum sounds
  • • Bring out the lower octave of synth bass tracks with the A800
  • • Create unique ADT-style delay effects with the Ampex ATR-102
  • • Add the final touches to your music by mixing down through the ATR-102
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Mon, 09 Jun 2014 20:13:45 +0000
<![CDATA[Stuart Price on Creating Hits for the Killers and Pet Shop Boys with Apollo & UAD Plug-Ins]]> http://www.uaudio.com/blog/artist-interview-stuart-price/
“The Pet Shop Boys made me eager to pursue electronic music,” says Stuart Price.

 

With credits that include Madonna, Scissor Sisters, Pet Shop Boys, and the Killers, as well as albums with his own group, Zoot Woman, Stuart Price has been an artistic force for over 18 years. Three-time Grammy winner, producer, remixer, and synth wizard, Price and his nom de plumes, Les Rythmes Digitales and Jacques Lu Cont has continued to churn out a stunning body of high-quality music. Here, Price details his influences, the similarities between remixing and producing, and how he uses UAD Powered Plug-Ins and the Apollo interface to achieve his sonic ideal.

What was your first musical memory?
I think it was smashing up my walkman because I had taped it to a BMX bike so I could listen to the Pet Shop Boys at all times.

Did you have a musical and supportive family?
Yes. They were most supportive without me realizing it because they didn’t complain when I left secondary school and didn’t want to go to University. But I had a record out that month which I thought was a good negotiating point.

Did you play in bands when you were younger?
Yes, I was in bands at school. I played bass. But I also had a Yamaha 4-track that I would take around with me, and I was always interested in writing songs so that they could be recorded. The recordings weren't very good, but it’s a good reminder how much you can do with a 4-track and some intention.

How did playing bass inform your musicianship?
All the pent-up frustration of standing at the back came out later on!

What did you listen to growing up?
My parents both played piano so there was mainly Bach, Liszt, or Chopin. Pop music wasn’t really around in our house. When I was 19 I heard Human League’s Dare and I couldn’t believe how it sounded. Eventually, I got into Orbital and they started opening my ears to dance, which then led me to artists such as Thomas Fehlmann and Polygon Window. I also used to tape the Colin Faver show on KISS FM, which was really good.

Do you think it's harder these days for kids coming up with the mass of technology and presets at their fingertips without necessarily learning the basics first? 
Well you can certainly be distracted very easily from a kind of basic learning-through-mistakes-mentality. That is, it has become harder to make mistakes when a lot of software is designed to prevent mistakes. A competent record is somehow easier to make. But competent is probably the ultimate sign of failure to make something interesting. Often, when everything is "right," something is just missing. But when a track has something unfathomable about it, the critique of its production becomes secondary, and it's just magic again.

Behind the scenes chat with the
Pet Shop Boys & Stuart Price

How did you start off and transition into the world of Techno?
Adam [Blake] from Zoot Woman and I were at the same school. He liked The Who and I liked Jean Michel Jarre. A friend of ours used to collect records from UR and Metroplex, and that was some sort of bridge we could both get into. 

Do you have a collection of vintage synthesizers?  
Yes. But personally I only like to use a handful at a time to prevent tracks from becoming too general with a touch of everything. You need to live with each one for a while to get to its secrets. I love the Yamaha TX7, the Casio CZ-101, the ARP 2600, Ensoniq Mirage, Roland MKS-50, and the EMS VCS3. I like to have them around mainly for inspiration. In my experience, turning away and just focusing on a different object in front of you can yield good results.

With the proliferation of inexpensive or free audio programs, virtual synths, effects, and sound loops do you think people are really learning their tools or have the tools become disposable?
That’s possible. It’s more like a kind of temptation. For example, there was a store in London that once created one of the biggest analog synth collections in the country and assembled it in their basement. You could get free time there if you bought product from the shop. So you had this sort of gluttonous synth porn store. I think anyone who went in there emerged completely overwhelmed and empty handed because firstly it's hard to jump in the deep end with a Moog Modular and expect to get any decent results out of it 30 minutes later and, secondly, the level of distraction just made it one big unfocused head job for anyone. In many ways, software can be like that too.

“The 1176 plug-in seems glued to my input chain,” says Stuart Price.

How did you transition to producing?
It branched off from remixing. I love reworking songs and ideas into new directions, and doing that is an element of modern production itself. The two are not dissimilar — you are always trying to improve your ideas until you get something really good. I started producing a lot of the artists I worked with because of the remixes I had done for them, like the Killers’ “Mr. Brightside.” The band liked it, so we met up at a concert and made plans to work together more.

Why have you recorded under pseudonyms like “Jacques Lu Cont” and “Les Rythmes Digitales?”
A few reasons; a pseudonym allows you to pursue a stylistic idea, it’s a world you can disappear into outside of your own. The music can have its own personality, just like the pseudonym.

Pseudonyms can also be like album titles. You have a new direction and instead of putting it under this one big umbrella you use the pseudonym to name that record. In many ways, using pseudonyms allows the music to live on its own merits, because there might be less preconceptions about other material you have done.

What is your history with UAD Powered-Plug-Ins?
I think I bought a UAD-1 the month it was released. I go through phases of finding a batch of UAD plug-ins and they become my “go-to” plugs for a while. I could drown too easily in a long list of options so it's much easier to just use a few at a time and remove some options.

What do you mean?
For example, just resign yourself to using, say, the Pultec EQP-1A plug-in from the Pultec Passive EQ Plug-In Collection as your only EQ. I find that I get that EQ sounding right in the same time I could still be poring down a long list of other EQs. It's an important part of the flow. It also builds your confidence in them — you know them better. But with patience there is time for all!

“Using pseudonyms allows the music to live
on its own merits,” says Stuart Price.

Do you have any “go-to” UAD plug-ins?
The 1176 Classic Limiter Plug-In Collection  almost always works for me. I love it. There’s a lot of variety in there from essentially one unit’s history. 

I started using it on Madonna’s vocal sound, along with the Pultec. I set the 1176 at 4:1 and ran it into the Pultec with a high-shelf. It clicked really well on her sound and I’ve found that I adapt that chain and still use it a lot. And even though we used a large condenser mic with Madonna, the 1176/Pultec chain is equally useful with a Shure Beta 58 mic. It just does all the right things, and quickly.

The Cooper Time Cube Mk II Delay is another one that is great for building sounds, without making them too effected sounding. I like the “suffocated” sound you can create with it. When the delay is so short it’s almost superimposed on the original and it makes for a nice thick tone.

Also, the Fairchild Tube Limiter Plug-In Collection is great because it is unique; none of the other compressors sound like it. On the Killers Day and Age, that was often a drum compressor, for either individual sounds or the entire kit. It suits Ronnie’s [the Killers’ drummer Ronnie Vannucci, Jr.] sound well. His kit is really more like one single sound source than a collection of multi-micing drums.

The Precision K-Stereo Ambience Recovery plug-in  is also excellent on a bus because you can really start altering your perception of what the group was before. It makes suggestions that, if you were thinking too logically, you wouldn’t have thought of. 

It’s good to experiment making broad stereo groups a bit more subtle, and vice versa, creating unnatural ambience from sources that had little before.

“The Apollo with Unison technology bridges the gap between using 'real' preamps and virtual ones,” says Stuart Price.

Do you compress individual channels and then compress them again on the mix bus?
Although it’s so dependent on the source I would say yes, a lot of the time that happens. The irony is that a lot of the time you need to leave sounds sounding individually un-mixed in order for them to work with processing on a bus or master. Five individually “worked on” sounds that have all been "perfected," can suddenly sound wrong when put together. I find it’s better to imagine them as an aggregated sound and think how that can be treated.

I learned that lesson working on Take That’s backing vocals — too much individual processing made no sense in the mix. It was more the sound of many uncompressed voices being compressed as a group that worked. It was more interesting, if less perfect.

That’s really a bigger point about the importance of working on all sounds together at the same time than focusing in on tracks one-by-one and then expecting them to work together. 

Is it safe to say you garner inspiration from not having too much of a set workflow?
What is easier to say is that repetition can get you quick results, but can also be very un-adventurous. Which means when you need some inspiration, you might not be feeling particularly ready for it. Workflow implies a restricted approach. I suppose “just mess around” is a better way to look at it.

When it comes to my workflow, however, the truth is it’s really different from day to day, and that’s why it's important not to get stuck into patterns or routine. It’s fascinating because almost any advice can be made redundant by your next scenario.

Could you describe your current setup?
Yes, it’s the new Mac Pro with an Apollo QUAD  connected via Thunderbolt. I was using a UAD OCTO PCIe card  in a Sonnet chassis as well which worked great too. I used that in tandem with a Neve Melbourn 12 channel board.

What do you like about Apollo?
I don’t like having things setup too nicely and I mostly patch stuff in when I feel like using it — that’s why the Apollo is really helpful. I have one cable that wherever it gets plugged in has some combination of UAD front end on it — the UA 610 Tube Preamp & EQ Plug-In Collection or the Neve 1073 Preamp & EQ Plug-In Collection, an 1176, an amp simulator, or the Boss® CE-1 Chorus Ensemble plug-in.

The Killers' “Flesh and Bone" Jacques Lu Cont remix.

Do you take advantage of tracking with near-zero latency with the Apollo?
Yes. That has made a huge difference. I previously used to apply UAD plug-ins further down the line. But now working with them on the front end lets you get closer to your final sound sooner. This feature alone is worth getting an Apollo for. And with Unison™ technology and plug-ins such as the 610 and Neve collections, the Apollo really bridges the gap between using “real” preamps and virtual ones.

Are you printing effects a lot? 
Yes, if it's part of what’s going on. Adding compressors or effects on the way in forces some sort of discipline as well — it forces a decision on the sound instead of leaving it for later. The way I see it, if you constructed a sound with reverb or delay as an intrinsic part of it, then print it. If it doesn’t work out, redo it.

What’s the most unconventional way you’ve used UAD plug-ins – how were you surprised with the result?
Maybe chaining amps together — say a Softube Bass Amp Room into the Chandler Limited GAV19T Amplifier plug-in. The DI feature on the Softube has quite an extreme effect, which makes the Chandler act very differently to the input it’s receiving. 

When you sit down to start a session, do you have any general strategies for mixing? 
The thing that always helps me the most is the thing I least like doing — turning everything down and gaining headroom. If you can “have a word” with yourself and back the input to the master bus down and mix again from there, you will probably get stronger mixes.

But it’s hard to do because I get excited where everything is peaky and pressurized! But from then it’s diminishing returns. Although it’s a bit risky, I normally set my monitor gain almost at maximum, then start soloing in elements of the mix so I’m forced to keep them low and hence gain overall headroom.

I suppose another strategy is to walk around lots. Hearing what you are working on from another room helps keep you focused on things like arrangement, as well as broadly telling you if the mix is working or not.

Photo credit: Universal Audio

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Tue, 27 May 2014 21:45:24 +0000
<![CDATA[“The Sound of ’73” - Neve 1073 Preamp & EQ Collection]]> http://www.uaudio.com/blog/neve-1073-collection-trailer/ Neve 1073 Preamp & EQ Plug-In Collection — a brain-bending new computer software plug-in from Universal Audio and AMS Neve Ltd. 

Based on the Neve 1073 Channel Amplifier — one of the most revered preamp and EQ circuits in audio history — the new UAD Neve 1073 plug-in lets you color and EQ your mix with authentic Neve tone, including all 10 distinct clipping points from the vintage 1970's era hardware. 

Better still, Apollo interface owners can track "through" the new 1073 plug-in, thanks to Unison™ technology. 

The UAD Neve 1073 Preamp & EQ Plug-In Collection is exclusively available for UAD-2 hardware and Apollo interfaces.
 
Featuring the song "ARP 273" by 7 Come 11
w/ additional vocals by Nik West
http://www.7come11.net/
https://www.facebook.com/nikwestmusic]]>
Thu, 08 May 2014 22:17:33 +0000
<![CDATA[5-Minute UAD Tips: Neve 1073 Preamp & EQ Collection]]> http://www.uaudio.com/blog/5-minute-uad-tips-neve-1073/ Neve 1073 Preamp & EQ Plug-In Collection on your Apollo interface or UAD-2 hardware with this 5-Minute UAD Tips video.

Learn how to: 

• Add classic Neve character and dimension to your music
• Get character and grit on recorded drums
• EQ bass guitar using the inimitable Neve 1073 sound
• Craft a beautiful, silky vocal that sits perfectly in the mix
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Thu, 08 May 2014 15:43:51 +0000
<![CDATA[Mixing Band of Horses’ “Detlef Schrempf” with UAD Plug-Ins]]> http://www.uaudio.com/blog/producers-corner-mixing-band-of-horses/
Jason Kingsland [left] and Bill Reynolds [right] tracked Band of Horses
at the legendary Ryman Auditorium.

Recorded and mixed by Bill Reynolds and Jason Kingsland, Band of Horses’ live album, Acoustic at the Ryman, is a stripped-down document of a legendary group at a landmark American venue. Here, Reynolds, a Grammy-nominated producer, engineer, mixer, and songwriter (as well as Band of Horses’ bassist) details the track, “Detlef Schrempf” from Acoustic at the Ryman.

The process of making this record was interesting to say the least. We recorded all of the shows on the tour, but not necessarily for release. The two nights at the Ryman were particularly special though. Both the crowd and the band were particularly high-end that evening, and it quickly became apparent that this would be excellent to release as a live record.

Here is the finished track:

Detlef Schrempf

 

Crafting the Lead Vocal

UAD Powered Plug-Ins were crucial for the lead vocal, in particular for this track. We needed tools that could really maximize what limited tracks we had, without making them sound too processed or digital. The SSL E Series Channel Strip Plug-In strip gave us dynamics and EQ right up front, before we hit additional processing, which was a Blue Stripe 1176 from the 1176 Classic Limiter Plug-In Collection, API 550a EQ from the API® 500 Series EQ Plug-In Collection, and Studer® A800 Multichannel Tape Recorder Plug-In.


Here is the dry vocal track:

Vocal Dry

And here it is with the UAD-2 plug-ins:

Vocal Wet

The 1176 was acting more as a peak limiter while the API adds a smooth midrange, some silky top, and just a hair of proximity. The Studer acts as a smoothing element, mostly for midrange.

 

Balancing the Piano

The piano is an upright that had been used on countless live shows at the Ryman. We recorded it with both a DI and a mic, so there was a fine balance of getting the better body of the mic with as low leakage as possible, and the much brighter sounding DI signal.

The Piano was treated with the Brainworx bx_digital V2 EQ Plug-In, the Neve® 33609 / 33609SE Compressor, and the Pultec Pro EQ.


Here is the piano dry:

Piano Dry

And here it is after processing from the UAD-2 plug-ins:

Piano Wet

We made some simple cuts with the Brainworx bx_digital — which excels at cutting without sounding weird — generally in the low-mids, less for the actual instrument sound but more for resonance of the venue. The Neve 33609 was set to be pretty grabby-sounding, generally used more for tone than dynamic reduction. The Pultec Pro is adding a little body (mostly for the DI), and little bit of bite/sparkle around 8k.

 

Dialing-In the Bass

The Bass was processed with the Brainworx bx_digital V2 EQ, the 1176 rev E from the 1176 Classic Limiter Plug-In Collection, and the API 560 EQ from API® 500 Series EQ Plug-In Collection.


Here is the bass dry:

Bass Dry

And here it is with UAD plug-ins:

Bass Wet

The bass has a lot of acoustic resonance from the stage. The Brainworx, again, saved the day by being able to make very drastic cuts with narrow Q, without mangling the sound. The 1176 is set to act a hair more like a RMS compressor, but never with tons of gain reduction. The API 560 is a very strong tonal shaper, and a little goes a long way. Here, it’s adding just a touch of warmth.

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Wed, 23 Apr 2014 16:23:57 +0000