Tip: Between the different plates, input filter and EQ settings, you’ve got a ton of options. Tip: To retain and even enhance the bass response of program material, make sure to engage the sidechain function, and choose the “steel” transformer setting.Īnother emulation of a classic unit, this is one of the only reverb plugins that “feels” like a piece of hardware. It can be intimidating to use this one for the first time if you’re not familiar with the original hardware unit or well-versed in compression, but get past the initial learning curve and it’s one of the most versatile plugin compressors. For clarity and sheen, I usually choose the ATR-102. For warmth and midrange vibe, I’ll reach for the A800. This tape emulation plugin is perhaps even more versatile than the Studer A800 given that it has a built in delay and additional tape characteristics. Experiment with the different versions in the collection before reaching for an equalizer. Tip: These compressors have their own unique tonal characteristics in addition to being adept at managing dynamic range. The fact that you get several variations makes the collection even more powerful.
Try it on electric guitars, with a couple dB of gain (anywhere from 1 – 3 kHz) for bite without the fatiguing quality that other plugins can sometimes add.ĭespite having minimal controls, this emulation of the classic hardware compressor is extremely versatile. Tip: Whereas the upper midrange of most plugin equalizers can be harsh and brittle, this EQ is really pleasing in that range.
#UNIVERSAL AUDIO PLUGINS WITHOUT HARDWARE FULL#
Intuitive and easy to use, but also full of character and interesting tones.
The high-end is unmatched.Ī great Swiss Army Knife equalizer. Be mindful not to push the volume of that aux track too much. Tip: Run this in parallel on lead vocals or a vocal aux, and add a substantial amount of gain (anywhere from 1 kHz to 27 kHz) to add whatever the vocal might be missing - whether it’s bite, clarity or air. Try this plugin - add a generous amount of 12 or 16 kHz to the two-buss and you’ll see why. The original hardware unit is one of the most widely used equalizers in mastering. Tip: Use this in Unison in conjunction with an Apollo interface, and set it to mic level when recording electric guitar for the most absurd, fuzzy, 70’s lead guitar tone I’ve ever achieved in the box. It’s super smooth and I’d describe it as “forgiving” on vocals, but it works on pretty much anything. Tip: Send your bass in parallel to the 33609 and push the input to add excitement and vibe, while still maintaining the dynamics of the original signal.ĭepth, clarity, bite, mayhem - normally I choose a specialty EQ to add one of these qualities to my audio. If you’re looking to “glue” multiple sources together and add instant excitement without killing your dynamic range, this is my favorite compressor. This compressor, which models the classic Neve hardware, is a regular on kick, snare, drum buss and master buss.
Try bringing it down to just before the signal starts breaking up, and then push the input for instant vintage saturation and excitement. There are so many tonal options with this plugin - it’s like an EQ, compressor, saturator and signal destroyer all in one. It can also really warm up a master buss and is excellent on lead vocals and close-miked drums. It’s a mainstay on my drum buss and other sub-aux tracks. If I had to choose just one plugin from UAD, this would be it. Beneath are the UA plugins that I use most often. To complement their impressive line of interfaces, which also include the Apollo Quad, Twin, Solo and newer Volt, Universal Audio have been making some of the finest analog emulation plugins for over a decade now. The flexibility, sound quality and reliability make it a perfect interface for recording, production and mixing. The centerpiece of my home studio is a Universal Audio Apollo x8.
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