Dan Duskin
Established Member
Which one would you get if you could only pick just one...?
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Plate 140, Roland RE-201 , or Neve 33609?
- Thread starter Dan Duskin
- Start date
wishingwell
Active Member
Neve 33609 all the way, not a hesitation or second thought.
That's a tough one. I just bought the 33609, but I already have the 140 & 201. I use the 201 and 140 in 95% of the mixes / songs I do so I'm hoping I get as much use from the Neve. If I had to pick one, I would go with the Roland, but that's just because I make a lot of really spacey music I guess. I play guitars and synths mainly and it rocks on both of them.
Besides doing the multitap delays, best soft spring reverb, delay time riding and feedback madness, taking the input gain down and using the 'new tape' yields a really fantastic clean sounding echo for vocals and verb pre-delays. Other fun uses include using it as an offline effect on string/pad sounds 100% wet with no feedback to add a Mellotron feel, doing tape flanging (rather random modulation though), and using it 100% wet on loops slamming it just for the funky distortion.
Besides doing the multitap delays, best soft spring reverb, delay time riding and feedback madness, taking the input gain down and using the 'new tape' yields a really fantastic clean sounding echo for vocals and verb pre-delays. Other fun uses include using it as an offline effect on string/pad sounds 100% wet with no feedback to add a Mellotron feel, doing tape flanging (rather random modulation though), and using it 100% wet on loops slamming it just for the funky distortion.
Dan Duskin
Established Member
Well... I got my demos reset, and I just tried the Plate 140 again. Personally, I'm not as impressed as I thought I'd be. It's a SUPERB model! I mean, it sounds like a real analog plate reverb! That's good! That means they did a great job, because that was the goal.
However, I compared it to ClassicVerb on the Powercore... and, ClassicVerb sounded smoother, more 3D, had better mono translation, and did better \"in the mix\". ClassicVerb also sounded nicely detached from the dry signal, instead of washing over the dry signal. So far, I did this test with both male and female vocals. I didn't bother comparing it to the VSS3 or DVR2 because I know it would be very unfair.
I know it's personal taste. But so far, that's my find. And thanks to everyone for voting! I wouldn't have given the Plate 140 another shot if it didn't get such a high vote.
PS: I'll probably be buying the Plate 140 anyway. I can get it for less than $20 US! How? I have four cards... which gives me a $100 voucher... then combine that with the 20% off... and wala! DIRT CHEAP PLATE REVERB!
However, I compared it to ClassicVerb on the Powercore... and, ClassicVerb sounded smoother, more 3D, had better mono translation, and did better \"in the mix\". ClassicVerb also sounded nicely detached from the dry signal, instead of washing over the dry signal. So far, I did this test with both male and female vocals. I didn't bother comparing it to the VSS3 or DVR2 because I know it would be very unfair.
I know it's personal taste. But so far, that's my find. And thanks to everyone for voting! I wouldn't have given the Plate 140 another shot if it didn't get such a high vote.
PS: I'll probably be buying the Plate 140 anyway. I can get it for less than $20 US! How? I have four cards... which gives me a $100 voucher... then combine that with the 20% off... and wala! DIRT CHEAP PLATE REVERB!
Dan Duskin
Established Member
I'm off to try the Neve Compressor again. What instruments should I try it on?
Thanks again!
PS: Do either of the two people who voted for the Space Echo do less than 50% electronic music and more pop/rock/jazz (mainly pop and rock) stuff? I don't do electronic stuff, or make weird sounds... my mixing techniques are more suited for bands.
Thanks again!
PS: Do either of the two people who voted for the Space Echo do less than 50% electronic music and more pop/rock/jazz (mainly pop and rock) stuff? I don't do electronic stuff, or make weird sounds... my mixing techniques are more suited for bands.
Dan,
I do a lot of stuff besides electronic, but it is probably about 50/50. Anyway, I have found the 201 useful in more circumstances than I had imagined. It works very nice in rock/pop music on vox, keys, and guitars. Obviously it has no place in traditional jazz but for more modern tracks it might be okay. It definitely sounds good on trumpets.
That being said, I really like the 33609 so far. Try it on rock drums (snare, room mics, overheads, subgroups), piano, vocals, and acoustic guitars for sure. I've tried it as a master buss compressor quickly on a few random mixes but definitely need to experiment more with that. I can imagine it working on certain rock tracks.
I do a lot of stuff besides electronic, but it is probably about 50/50. Anyway, I have found the 201 useful in more circumstances than I had imagined. It works very nice in rock/pop music on vox, keys, and guitars. Obviously it has no place in traditional jazz but for more modern tracks it might be okay. It definitely sounds good on trumpets.
That being said, I really like the 33609 so far. Try it on rock drums (snare, room mics, overheads, subgroups), piano, vocals, and acoustic guitars for sure. I've tried it as a master buss compressor quickly on a few random mixes but definitely need to experiment more with that. I can imagine it working on certain rock tracks.
Dan Duskin
Established Member
Thanks Brian!
Interesting that you say the 201 wouldn't work for jazz. I guess I'm thinking more for jazz guitar. i.e., think of the great Les Paul (not the guitar, but the player) and his brilliant tape delay sound.
Regarding the 33609. I'm trying it again now, and I'm liking it much more than the first time I tried it. The first time I tried it I only tested it on the mixbus, and didn't care for it. This time I tried it on snare, drum group, bass guitar, and vocals. I compared it to the Fairchild and WAVES SSL 4000 stereo compressor on each of these. For the snare, the SSL was best. For Bass the I liked both the Fairchild and the 33609 (depends on the sound you want). For the drum group... I liked all 3, but the SLL 4000 and Neve gave me the most punch and attack (which i prefer)... I tried it on the drum group for 3 different songs here (3 different bands, 3 different drumsets)... I prefered the SLL on two of them and the 33609 on one of them. On vocals... I compared it to the LA2A and 1176LN. I don't care for the 1176 on vocals, and i love the LA2A, however sometimes I want something a little bit harder sounding... but the 1176 is a bit too pushy and pumpy for vocals... the 33609 was much more along the lines of what i might look for in a harder and more edgy sounding compressor if i desired *extreme* compressor on a vocal (which isn't common, but sometimes it is the ticket).
Interesting that you say the 201 wouldn't work for jazz. I guess I'm thinking more for jazz guitar. i.e., think of the great Les Paul (not the guitar, but the player) and his brilliant tape delay sound.
Regarding the 33609. I'm trying it again now, and I'm liking it much more than the first time I tried it. The first time I tried it I only tested it on the mixbus, and didn't care for it. This time I tried it on snare, drum group, bass guitar, and vocals. I compared it to the Fairchild and WAVES SSL 4000 stereo compressor on each of these. For the snare, the SSL was best. For Bass the I liked both the Fairchild and the 33609 (depends on the sound you want). For the drum group... I liked all 3, but the SLL 4000 and Neve gave me the most punch and attack (which i prefer)... I tried it on the drum group for 3 different songs here (3 different bands, 3 different drumsets)... I prefered the SLL on two of them and the 33609 on one of them. On vocals... I compared it to the LA2A and 1176LN. I don't care for the 1176 on vocals, and i love the LA2A, however sometimes I want something a little bit harder sounding... but the 1176 is a bit too pushy and pumpy for vocals... the 33609 was much more along the lines of what i might look for in a harder and more edgy sounding compressor if i desired *extreme* compressor on a vocal (which isn't common, but sometimes it is the ticket).