@@Marvin-ut4xs nothing is necessarily specific for one application especially a channel strip like the SSL or something like a compressor or EQ. if you think about a console every single track had to be sent to an individual channel, so it’s the same concept. It’s more about treating every individual element differently than an overall.
Bruh I know this is an older video but it's really a great beginner video. This thing has so many buttons on it , it's intimidating. This is by far the best one I've seen so far
Thanks for sharing! One thing I'm noticing.. when you opened up the graph EQ of the Bettermaker.. their 1 dB looks like 3 dB in the graph lol. So maybe the UAD is correct but Bettermaker just cranks the low end?
Problem with making beats fast like this is they lack an original sound. This is such a generic trap beat that the melody is the only thing even somewhat interesting. Technically, it sounds good but it's lacking originality or any type of soul. It feels very empty and devoid of any passion. I've also been doin this a while and after a while, all trap beats sound the same to you so enjoy it while it lasts cuz it probably won't last forever. You're gonna get tired of making the same generic stuff eventually
@@RicardoTolbert ohhh ok i understand then, fair enough! I thought it was supposed to be a fully finished thing so fair enough. In that case, It’s a pretty good start!
@@growingoaksI actually believe learning to make generic music is key to eventually making great unique music. A lot of aspiring producers try to skip the stage of making generic music but they rob themselves of building a solid foundation to then branch of and experiment. If you can’t consistently make good generic music you will never consistently make good original music.
@@nuh-uhbro765 i disagree. Generic music, by definition, is unoriginal. I’m not good at making generic beats but I’m pretty good at more original-sounding beats. Unoriginal/generic beats lack soul or anything thats exciting to listen to. That can help build a foundation, for sure, but making generic music won’t help more than if you set out to make unique music from the start. The foundation is fundamentally the same (sound selection, mixing, leveling, side chaining, arrangement, etc) but I don’t see how it’d help. If you see it differently though, I’d like to hear about how you think it may help!
@@growingoaks You can disagree but I you’re wrong. What makes music generic and sound like it lacks soul is because it followed every rule of said genre down to a T. You NEED to learn the rules before you can break them intentionally and creatively. The more genres you learn the rules off, and master making “generic” music in the more you understand why the rules are rules and when and how to break them and fuse ideas between genres. If you have no experience making music and no understanding of why professionals do what they do you are just throwing darts at a target with a blindfold on. There are an infinite number of ways to make a song unique and 99% of them are just mediocre and that’s the music you will make with no foundation.
Preferences are personal taste. The J console is quite nice yet nothing I'd say is crucial. Karacter sounds very harsh to me. There are only 2 or 3 saturation plugins that I'll use ITB.
My replies keep disappearing. Maybe it's because I was trying to paste the support statement from Acustica's website. Anyway, not sure where you heard Acustica plugins are not supported on an M1. I own a 16" Macbook Pro M1 Max and at least 15 or more Acustica plugins. I use Cubase 13, ProTools, and a few other DAWs. I never had issues running them in any of them. Cubase 13 in particular blocks any plugin that is not native. Of the 15 or 20 I own, only 1 shows up on the block list. The other 19 or so say, "x64/arm64" under the architecture list. I bet if I updated that particular plugin it would find it's way off that list.
Cream 2 and I forgot the other one that I own but as of now are still not available on M1 nativly AAX (Not using rosetta) unless it just got updated I'm not aware of it. I reached out to support in like May and they said they couldn't provide a timeline on when they would be updated. ***UPDATE*** I just checked I guess they did get updated I just installed them! Good looks thanks for reminding me
@@coldskoolbeatz ima have to be on the lookout. I also don’t use them because I’m on a M1 Mac and they’re not updated yet. Unfortunately kind of sucks. It’s been like four years lol
@@RicardoTolbert My replies keep disappearing. Maybe it's because I was trying to paste the support statement from Acustica's website. Anyway, not sure where you heard Acustica plugins are not supported on an M1. I own a 16" Macbook Pro M1 Max and at least 15 or more Acustica plugins. I use Cubase 13, ProTools, and a few other DAWs. I never had issues running them in any of them. Cubase 13 in particular blocks any plugin that is not native. Of the 15 or 20 I own, only 1 shows up on the block list. The other 19 or so say, "x64/arm64" under the architecture list. I bet if I updated that particular plugin it would find it's way off that list.
It can be similar. The PA you can be more intentional because you have control over the THD. So you can essentially run you channel strips "hot" on purpose. But the UAD you have to push into it to get some juice out of it. So really it just would change the way you mix. But I will say I do really enjoy the transformer button on the UAD!
Hey Ricardo, good instructional video on vocal treatment. High pass filtering, eq, compression etc. The thing is though is that you never let us (the audience) hear the vocal with the music of the song which means we’re not getting the full context of your instructions. A couple of times you mentioned what doesn’t work in treating the vocal for the song but we never get to hear the actual song this vocal goes with !!! If you play a soloed vocal or any track to demonstrate your instruction throw it in with the music occasionally so that we can all see how it’s coming along. I’m not one of those mixers who make the solo button the enemy of mixing because often you need to hear the soloed naked track for the subtle details while editing. This is an observation and a suggestion not a criticism… Carry on and thanks for sharing your channel’s info … 😊
Yeah I get what you're saying and I totally agree. It's hard for me to play the full song(s) because I've gotten a few copyright strikes before when I play the full song and its a long process to get them removed and let RU-vid know that the artist is okay with me doing these. My next few videos will have a lot more context. Thanks for the feedback though I appreciate it and thanks for watching!
@@RicardoTolbertI’ve seen lots of tutorials where they play the vocals with the music but I hadn’t thought about what is required to do that without some penalty being applied by RU-vid. I guess if it’s music approved by the copyright owner it’s okay to use it. Thanks for your reply, Ricardo… I appreciate all of you guys who are trying to help us learn how to mix. Happy teaching !!! 😊
There's something happening with YT's conversion unfortunately they haven't gotten back to me with any help. My next few uploads will hopefully be okay
Hey bro opto mode is a certain sound, 10:1 is the ratio. Just means every 10 decibels that get pass the threshold only 1 gets pass. Everything else is compressed.
Yeah for sure it is but with the Distressor specfically it is emulating the compression curve of how an opto compressor detects and reacts to the signal. Thanks for watching I appreciate it!
It's too bad that we will never (ever) have a comparison of how many more sales/streams you would have gotten with each compressor. What percentage of the final finished production does the vocal compressor make up? 2%, 3%? A compressor is just not going to make that much difference to a great performance or a bad performance. Sure, we've been using compressors to help mastering for 80 years or so. How many people can say "Thank god for that compressor or I never would have had such a big hit"?
@@leadfoot64 Hey buddy, I've been a prize winning engineer for over 40 years. My point was there is very little difference from one compressor to another and one brand of compressor is not going to make or break a great performance. And, by the way, the compressor is NOT everything in a vocal track, the vocalist is.
@@iamtheimagedoctor Oops I’m stupid, didn’t catch you were talking about compressor comparison.. that’s true. As far as the vocals, I figured it was given that the ‘vocals/vocalist’ was top notch, and the next important thing would be compression. Compression is on all recorded music (with some exceptions) in one form or another so I would say its role is very important.
@@leadfoot64 Did you even watch this? It starts with the statement "Why ALL engineers use these compressors for vocals." That is obviously a statement that can be contradicted. There over 100 sub genres of music and this RU-vid is by someone who stated they record a lot of HipHop. Essentially saying that the compressors are "too clean." Then you have to add a tube pre-amp in the chain to burn in some harmonics to "warm up" the sound. All I'm saying is that there are dozens, if not hundreds, of compressors on the market. Sure some are cheap and you don't want to run your vocal through a guitar pedal compressor. But they all have a threshold, a ratio, a gain, and if you're lucky a hard and soft knee control. I could go into any professional studio in the world and do fine with whatever compressors were present. If the final product is a big hit is anyone going to say "Thank God we had that particular compressor or we wouldn't have had a hit." Or likewise if it's a flop/disaster is anyone going blame it on the vocal compressor? Of course the role of the compressor is important but to state that ALL engineers use these compressors is, quite frankly, BS. End of story.
I don't think I understand what you mean? Like the Scarlett mixer software? It's just routing thou...but, are AVID and Eleven like, it bypasses the whole console software and goes straight to protools? And this is one way to get past the hideous latency??
Yeah because when it comes to interfaces that have low-latency recording capabilities, your signal is hitting the included software first to be processed through the hardware then into your DAW. With Avid it just directly going to pro tools. Same thing with UAD if you were to use Luna you are doing all the processing within the DAW instead of separate app.
It doesn't really have an impact sonically speaking. If you can invest in the hardware and like the idea of playing with the plugins mid recording fine. In conclusion I find it a cool tool to have but not really opening lots of doors nor worth the investment considering other things that might level up the quality of your work.
yeah thats true just depends on what ur needs are and if you think gear will get you to a place that you need to be. The end of the day its mental thing. Ive worked with producers who can't work without certain gear or gear at all and Ive worked with people who can work with anything!
@@RicardoTolbert I did watch the whole thing and how exactly did I get the most of them? I thought - because of your intro - you'll be talking about using UAD native plugins without UAD hardware. Both the title and the intro did hint on that and then what.
I’m not sure what you’re not understanding? Either you don’t understand how the UAD platform works or you missed the entire part where I was showing you how to PRINT your NATIVE plugins just like if you had a UAD interface. The title says “how to get the most of your plugins” not “how to get the most out of your UAD plugins” and in the entire video I’m explaining why I got rid of my UAD interface, but how you can still use your third-party native plug-ins just like if you had a UAD interface.
@pham4925 also instead of complaining about something you clearly don’t understand. I actually do have videos on UAD native plug-ins that I’ve made in the past.
The Tube Tech hardware might be my all-time favorite vocal compressor. I tried really hard not to love it so much since I am an all in the box producer the past 20 years. In my work with the Grammys organization, I had a number of opportunities to do live singing shootouts, choosing my fave mic U87 and the Tube Tech just stood out on its own. Amazing piece.
could you make a video about recording in a non treated room and how to deal with noise and get good recordings? so that when everything is loud there isnt weird noises in the background? i always struggle with that one
Yeah I can believe that. Ive always said that specifically the UAD LA-2A collection has the most character when it comes to compressors. They did a really good job. The tube-tech you have to really dig into to get it to do its thing which is true for the hardware as well in my opinion!
Bought this plugin and compared it with my other 30 compressor plugins...it is softer in any sense, smoother, but not punchier or kicking like others. Would use it on single tracks that need smoothing, maybe rarely on a master or mixbus.
Both great can’t go wrong with either one. Manley is tube, 2500 is VCA. In my opinion the 2500 is more flexible but if you’re looking for more of a sound or big tone difference I’d go with the Manley.
@RicardoTolbert thanks! They have the 10 bundle for $349 and I got a $25 discount, but didn't want to get 2 compressors If I didn't need.. kinda leaning to the API but they are both good 👍🏼 as hearing from the demos!I already got the UAD Essentials bundle for only $49! ..API Vision, 2500, 1176 collection , Mini Moog, Ravel, Manley Passive EQ , Avalon VT-737, Ravel, Hitsville Reverb and D Chorus or just the Manley Var Mu maybe..idk If I wanted to get another Mix Bus Compressor if I didn't need.. I'm making Hiphop and dabbling in EDM..
I really like UAD plugins, but after using their Spark for almost a year, I'd say avoid it like a plague. They are notorious for crashing, even sometimes having to uninstall UA connect to jump start it again. If anyone's going to get into UAD, best bet is to just buy the plugins.
