![]() These are perhaps the most true-to-life tape emulation plugins, both sonically and functionally. Universal Audio Studer A800 and Ampex ATR-102 This preserves the original signal, but with added attitude, harmonics and a boost in perceived loudness. I’ll dial in a more aggressive sound using TAIP, and then bring down the mix level to taste. Fortunately, TAIP does feature a mix control in the form of a slider located in the center of the GUI. But I don’t build plugins, I just use them (and write about them). Here in early 2022, I’m not certain as to why every single plugin doesn’t feature a dry/wet blend feature, otherwise known as a “mix” control. TAIP can offer all the glorious, gritty warmth of analog tape when pushed hard. This AI-powered tape emulator features a super clean GUI, but don’t be fooled. A few of my favorites include: Baby Audio TAIP Fortunately for the many of us who have migrated to using DAWs, there are numerous plugins that offer the punch, power and mojo of analog tape. While digital technology is far more cost effective and efficient, the sonic character of tape is undeniable. I love using the Pultec for adding high frequency content to the entire mix (usually 12 kHz or 16 kHz) and occasionally for thickening the low end (usually at 60 Hz or 100 Hz).Īnalog tape has been essential technology in the evolution of music recording. The thing to understand is that the EQ curves of the boost and attenuate knobs are slightly different. Mix Tipĭespite having the unique (and understandably confusing) feature of being able to boost and cut at the same frequency, the EQP-1A is pretty simple to use for mix buss duties. Plugin versions are available from Universal Audio, Waves, Softube, and you’ll even find a serviceable version as a stock Logic plugin, among others. ![]() Designed in Teaneck, New Jersey in the 1950s, the hardware EQP-1A has been used for over a half century to sweeten program material in studios the world over. ![]() This famed tube equalizer has staying power. Toward the end of the article, I’ve placed some audio examples of mixes with and without mix buss processing. Important to note is that these are not listed in the exact order I employ them on my mix buss, aside from the limiter, which I ways place last. ![]() Other times, I’ll begin with little to no processing on the mix buss other than a safety limiter, which I’ll discuss later on.īeneath is a roundup of some my favorite mix buss plugins and how I use them. I have templates and track presets (in both Logic and Pro Tools) that allow me to quickly access mix buss signal chains, which I will usually mix into when I start a mix. Whenever I’m mixing, I don’t shy away from dressing up the mix buss with several of my favorite plugins, as my goal is always to create a deliverable that sounds as close to mastered as possible. It’s also essential to understand that your music might be better off by not applying anything to the mix buss if the processing is applied incorrectly, as heavy-handedness when using these tools can lead to lifeless, thin and harsh-sounding mixes. I want to stress that processing your stereo buss isn’t the same as mastering, but applying equalization, compression and saturation can afford you some of the qualities of commercially mastered music. Ever listen to your printed mixes and wonder why they don’t sound closer to your favorite records? If you’re not correctly applying processing to your mix buss (otherwise known as a 2-buss, master buss, stereo out, and more) you’re likely missing out on the punch, clarity, warmth, and overall volume found in professionally mixed and mastered releases.
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