When you want fat sounds for your synths or bass you want warmth, girth, harmonics and depth. Hard to get just with plugins ain’t it? Yes saturators can get you halfway there but a combination of a distressing type preset and the UAD Fatso ™ will have you smiling in next no time. You can of course use any brand of plugins you wish.
Manley Labs’ flagship compressor since 1994, the Variable Mu is a tube and transformer-driven classic that exudes hand-made craftsmanship. A gold standard among mixing and mastering engineers, the Variable Mu adds clarity and cohesion to stereo buses or your entire mix. This compressor is well known for it’s warmth. A modern iteration of the Fairchild it makes a great companion for the 670 Mojo Pro sampling. Tubes, tubes, tubes!!!! When FAT, SMOOTH and WARM are what you are after in your VST compressors, look no further – whether it be on individual tracks needing to loose that digital edge or even Master bus mojo to add GIRTH. Works extremely well with the equivalent Slate VBC version which benefits from the mojo of the real thing IMHO. Equally, also works great with the T-Racks 670 version Vintage 670 Compressor.
Custom designed and hand-made, the sidecar console is based on eight legendary vintage Class AB mic-preamps and equalizers which come from the 70’s era “with a lot of character”. The summing amp has a vintage design of pure Class A with Carnhill transformers which gives that “in your face” Neev sound. A professional studio requested me to build this sidecar console for their dance-techno production, choosing the rich, dynamics and fat sound it has. Its high bandwidth pure audio path, superior dynamics and greater control make the Neev 81 Sidecar Console the first choice for recording and mixing Rock, Pop, Dance and more.
Vintage maestro echoplex, Seven delay programs (Seven delay times), Dry program (dry echoplex signal path), 24/96
This set is ‘based on’ a very highly regarded remake of the classic 660 compressor. It can sound ‘creamy’, yet still clear and detailed. It has been called the best compressor around for vocals by many, as well as for slamming drums, and among other uses it can even give sounds a nice sheen without engaging the compression. Many commonly use it with just a few dB of reduction solely for it’s velvety sound. I think the positive qualities of the comp have translated well to this set, and I would imagine that almost anyone could find several uses for these programs.
This set is ‘based on’ a very highly regarded remake of the classic 660 compressor. This comp is widely considered to be one of the out there. It can sound ‘creamy’, yet still clear and detailed. It has been called the best compressor around for vocals by many, as well as for slamming drums, and among other uses it can even give sounds a nice sheen without engaging the compression. It’s commonly cited as a favorite for vocals, acoustic guitar, and other material. Many commonly use it with just a few dB of reduction solely for it’s velvety sound. I think the positive qualities of the comp have translated well to this set, and I would imagine that almost anyone could find several uses for these programs.
About: Behemoth is based on a custom analog/digital chain that is intended to “clean-up” low end while mostly intensifying lower level harmonic content. Although primarily aimed at low level low-mid frequency content, subtle higher details are also brought to the forefront. The purpose here is to hopefully bring about fuller and more forward sounding program material albeit in a non-traditional sense of compression or dynamic controlling. A consequence and benefit of this psycho-acoustic processing is the saving of a dB here and there, sometimes more depending on the specific material at hand: fuller sounds at a similar output. A similar characteristic of the preset “So Transcited”.
