#SSL DUENDE CHANNEL STRIP PRO#
I lost 30 minutes a day I had to restart Pro Tools six or seven times per day. Sometimes it would stop functioning and make a crazy sound-geh gah guh geh. Everything would drop out or glitch across all the channels of the Pro Tools session. It blew my head off, just as last time.īut even with v2 software, Duende was a bit flakey on reliability with Pro Tools 7.4. If anything, it sounds a bit better in v2, or maybe that's just my ears being happy to be reacquainted with an old friend. The Stereo Bus compressor-I've got no changes in opinion from my previous review. I used the Peak button on the compression just to hit the peaks more. I loved the compression on individual tracks, and the EQ gives you that harshness, if you really want that thwack, in the way that a real E-series console does. I also used the bog-standard SSL EQ and Dynamics Channel on everything. I tried it on a couple things, but I didn't spend the time on it, because I needed something to rock out of the box, and the rest of the Duende suite was doing it for me. In a mixdown situation, it was a bit much for me to learn. There'saknob to control your maximum gain reduction it lets you control how much transients get compressed, so bigger ones don't sound unnaturally squashed.ěut honestly, I didn't really use X-Comp that much. And the graphicsarequitelovelyandinformativetoo. You can tune it to process a certain range, while everything else "bleeds" right past the compressor. Thebleed-throughfeatureis an interesting way to look at frequency-dependent, parallel compression. It's like a hardware GML in terms of that high-quality control and such gorgeous sound. I didn't feel like anything was jumpy-very smooth control, in a plug-in no less! Having 10-band parametric EQ of this caliber and ease-of-use just rocks. The controls are just wonderful to tweak-really to the point of moving things by a fraction of a dB-and beautiful to work with the mouse, which is certainly not the case with a lot of competing plug-ins. It'sbadass.Iactuallyused one of the presets to get me going as my starting point for the mix bus, then tweaked from there. The obvious question is, how does it compare to Sonnox TransMod? Drumship isn't as harsh, and to my ears, it's much moreversatileandusable. You can invert the Transient Shaper, and it's really wicked.Ěnd there's even a dry/wet mix right in the plug-in-no fiddling with buses or sends or any of that to work in parallel. Also, you can change the processing order of the various sections, but mostly I used the default order: Gate, Transient Shaper, then HF and LF Enhancers. It's wicked! There's also a wicked listen-mic simulation, but with more controls than the actual listen-mic compressor on the E-series console. But it only works on the attacks, and you can control them or you can make them bigger-you can actually add more attack to your drums. The Transient Shaper is like a "drive" function you can drive the shit out of. The HF and LF Enhancers are amazingly tunable, like highly accurate EQ if you like, but for adding harmonics without having to add volume. I placed Drumstrip across all the drum tracks-independently on each channel-and really sculpted both the frequency and transient content. I asked him how the Duende Mini contributed to these sounds. Some of the sounds I was hearing were incredible in terms of sheer impact. after the first round of mixing, Neil played a few of the songs for me in our NYC studio. The morning following his return from L.A.
#SSL DUENDE CHANNEL STRIP SOFTWARE#
So I was curious to know how Neil would fare with Duende v2 software and the new add-on plug-ins Drumstrip, X-EQ, and X-Comp. But he criticized Duende for stability problems with v1 software. He also spoke highly of Duende's standard channel-strip EQ and Dynamics plug-in. In his review of the standard Duende, Neil gushed about Duende's Stereo Bus Compressor plug-in, and he called it a "solid 10 out of 10" for sound and authenticity. But the Duende Mini, a compact version of the standard Duende plug-in processor that Neil reviewed previously (Tape Op #58), was crucial for Neil's sound sculpting. The 7720, an affordable outboard compressor that features an SSL-like character, didn't work out for Neil it didn't "warm up the bottom end" like an SSL bus compressor does, and the particular unit that was sent to him had problems with sidechain bleeding into the main audio path. So I thought this would be an excellent opportunity to set up Neil with a Duende Mini and a Chameleon Labs 7720 compressor. to mix the new Adam Freeland album, which features Tommy Lee on drums and members of The Distillers, Devo, Pixies, NIN, etc., he told me he'd be working "in the box"-without an SSL desk that he prefers for mixing. When my colleague Neil Mclellan informed me that he'd be flying out to L.A.
0 kommentar(er)
