Waves CLA-2A – Precise Live Innsturments’ Compressor While this EQ may be the most limited in terms of capability, it has a classic analog sound that you only find in Neve gear, and that alone is what has made me consider it one of the best VST plugins. The plugin features all 10 clipping points from the preamp and EQ so you get harmonically rich, classic saturation along with plenty of grit but also a lot of clarity.
The 1073 has a 3-band EQ and there is also a post fader output. With the plugin, you can emulate a Neve preamp and then use the EQ to change the frequencies in your recording.
Image credit: Universal Audio Check Universal Audio The 1073 is the only end to end Neve 1073 emulation. The Neve 1073 is one of the most revered class A transistor mics and line amps that give total clarity, sheen, and bite to your recording. The Universal Audio Neve 1073 plugin is a channel amplifier that is one of the best preamp and EQ circuits to ever come out. Universal Audio Neve 1073 – Most Revered Preamp The 550B also has a feature called ‘proportional Q’ which automatically widens the filter bandwidth at its minimum settings and narrows it at its highest settings.īoth of the EQs are great for getting that classic sound that only vintage EQs can provide. The 550B offers 7 filter frequencies reaching up to 5 octaves per band (there are 4 bands) with bands 1 and 4 offering a shelf or peak filter if you so desire. The 550B is more of a sweetening EQ but can also be used to solve frequency problems that the 550A might not be able to fix. High and low EQ can be selected as either shelving or peaking, and you are also able to insert a band pass filter. It is a good idea to research what the different production stages are for, maybe some online courses like Puremix or Lynda will be a comprehensive guide or even better, try to find a local tutor you can learn from in person, youtube is good for learning tricks and watch other people's workflows but you need to understand the basics of audio production first so you don't waste your time trying to make things work before they are ready.The 550A offers repeatable equalization at 15 frequency points and 5 different boosts that are then divided into 3 overlapping bands. Is not going to be as loud as commercial mixes but then you can export the mix to a separate session and raise the level using some mastering tools. Put your master track back to 0, turn down all your faders to around -12 and try to mix without your master turning red or even going over -6 on the loudest peaks. I suggest you forget about being loud during the mix and research about mastering as a separate process. I still haven't gotten it to be the same volume without it sounding distorted.Because that's not the best way to do that. I have tried using the Maxim plug-in by bringing the ceiling down to about -0.3db, then moving the threshold to about -5.5 to match the difference. I bring the master track down about -5.5 until there's no peaking going on. I have been looking into this for a while now, but haven't seemed to figure it out. I like my sound, but I’m trying to improve my recording and learn the right way. In order to be loud enough, I would have to raise my vocal track volume above 0db. You’re saying those are to make it sound identical volume-wise, but edited now, meaning I should still be around -10db. I always had EQ that would bring my volume down, then I would adjust the gain on my compressor to bring it back up to be loud enough. My recordings usually show up at around -10db because when I’m at -6db my microphone picks up detailed noises. I’ve learned more here than a few days on YouTube. When you say gain do you mean increasing the volume or adding the character of the units? When using EQs and compressors you should use the gain control to match the output level to unity gain rather than just to add volume which means that you should match the level of the effects to the level of the track when the effects are on bypass, otherwise the volume difference can fool your ears, here's an example: