URS drops the bomb again!

[Akis]

http://www.analogindustries.com/blog/en ... 8468772254

 

[Ashermusic]

http://www.analogindustries.com/blog/entry.jsp?msgid=1128468772254

I think we UAD users kinda have vintage compressors well covered.

 

[Giles117 DP]

Hey peeps long time no post (forgot my password and changed email addy's)

Anyway, Asher

What a lot of guys I know have been griping about is a nice 2 Buss compressor.

And this looks like the answer to my prayers

SSL or Neve makes me drool

I am an old SSL 6000/4000 User so I miss the classics

 

[Michael]

http://www.analogindustries.com/blog/entry.jsp?msgid=1128468772254

I think we UAD users kinda have vintage compressors well covered.

We'll I'll sure be happy to try them ! You can't have enough compressors :wink:

 

[Akis]

http://www.analogindustries.com/blog/entry.jsp?msgid=1128468772254

I think we UAD users kinda have vintage compressors well covered.

We'll I'll sure be happy to try them ! You can't have enough compressors :wink:

:wink:

 

[Ashermusic]

http://www.analogindustries.com/blog/entry.jsp?msgid=1128468772254

I think we UAD users kinda have vintage compressors well covered.

We'll I'll sure be happy to try them ! You can't have enough compressors :wink:

No but perhaps you can have enough vintage compressors. I am waiting for a Distressor emulation.

 

[.mr chris]

check: http://www.ursplugins.com/

.c

 

[Michael]

I noticed they incorperated side chaining in these bad boys too ! I cant wait till the VST versions come out . My guess it will probably be within the month .

 

[Michael]

Also I noticed there's a bundle discount if you already own one of the EQ bundles

 

[Giles117 DP]

$400.00 bucks is still cool. Means the academic version when released for AU gets in my studio ASAP.

Nothing like a good 2 buss.

I can stop complaining about a bunch of limiters but no smooth compressors

SSL and Neve Eh? I;ve used both. I Like the Neve on Jazz/R&B and the SSL on Gospel. Lets ROck.....

 

[taylor]

it's gonna be hard to pull me away from my Oxford Dynamics.. but these might provide a more \"vintage\" 2-bus route... i think the Oxford is pretty clean and transparent (w/o the \"warm\" parameter)... but i'm surely going to demo these when they come out.. i love the A + N, use them all the time... and am looking at the S, too.

 

[Jim Shorts]

http://www.analogindustries.com/blog/entry.jsp?msgid=1128468772254

I think we UAD users kinda have vintage compressors well covered.

You obviously havent a clue what this is(now..you'll look it up and pretend you knew all along)..do you know how long people have been waiting for this plugin? Believe me..if this sounds like the real one..you dont have it covered.

 

[Eric Dahlberg]

VST & AU versions should be finished by the end of the month.

 

[Giles117 DP]

Great to hear. My next Mix projects starrt in November.

Some nice Smooth Jazz stuff

 

[beubbo]

http://www.analogindustries.com/blog/entry.jsp?msgid=1128468772254

I think we UAD users kinda have vintage compressors well covered.

You obviously havent a clue what this is(now..you'll look it up and pretend you knew all along)..do you know how long people have been waiting for this plugin? Believe me..if this sounds like the real one..you dont have it covered.

so, is it better to let 1176, LA2A & Fairchild... dealing *only* with individual tracks ?

if URS's compressors are modelled as good as N & A serie are, should they be equally at home on individual tracks or bus group as they are on MixBus?

btw, correct me if I'm wrong but it seems that Mastering engineers are a lot more comfortable to work on an uncompressed mix as they usually have the right tools (often in the right hands with the right ears... hehe) to apply any amount of compression if needed at this stage. any thoughts ?

thanks in advance

 

[Demetrious]

usually have the right tools (often in the right hands with the right ears... hehe) to apply any amount of compression if needed at this stage. any thoughts ?

So imaging how good your music would sound if you had the right tools and trained your ears to let your hands use those tools to paint a good enough picture for the mastering engineer to visualize (or in this case, hear) what your expressing and/or emphasising, so he/she can put the frame and finish touches to your artwork/masterpiece.

Always remember that some instruments (incuding vocals) share the same center or dominate frequencies, and this will be a problem to sort out in the mastering stageif there is a prolem instrument that shares dominant frequencies with others.. A mstering engineer is not a wizerd don't expect miracles help him to help you.

The genre of music you make can determine what tools you need or choose for the task in hand, and your ears will tell you when your hands are holding the rite tools and when your hands have got to grips with what your trying to achieve.

WARNING :!: As with all Professional tools, follow all available instructions as a starting point .

A track can be mixed so well that a mastering engineer might not have to do much to alter your masterpiece for CD format and your track will only need to be a bit of work for Vynle mastering.

I've just bought the McDSP Comps and Eqs. URS Comps are next, after McDSP's Analog Channel .

If like most people you use 2 or more kick drums and 3 or more snares, layers of this layers of that. Plus, like some (me ), \"want this to sound punchy and that to sound snappy\", Maybe, just maybe in the mixdown stage is the only way to get your tracks to have the vibe, energy and sound that grabs the listener in just the way you want your music to be interpreted.

You have the blank canvas, don't waste it! Just use it well!

 

[Jim Shorts]

btw, correct
me if I'm wrong but it seems that Mastering engineers are a lot more comfortable to work on an uncompressed mix as they usually have the right tools (often in the right hands with the right ears... hehe) to apply any amount of compression if needed at this stage. any thoughts ?

thanks in advance

think you will find only a novice will want the ME to do his mix compression. Most Pro's do not. As soon as you add mix compression.. track levels change,,verb levels increase ect ect. You must make these changes in the mix if you want the mix to sound the way YOU want..not the ME. The ME cant makes those adjustments when He ads compression--so what he is doing is a bandaid because you didnt do your job

Like I said many people feel they are not good at it or they feel dont have good equipment or whatever..but mix compresson changes the mix and adjustment have to be made to make the most out of the compression(verb, levels, automation ect)

Letting the ME do it..it basically letting the ME finish mixing your song for you

PS..I said most..some great engineers know how to adjust their mix in anticipation of what *Their ME will do. but you will also hear that some Me's just want to be mixers--now asking for stems..no compression ect..when will it end?..when they mix the whole song?

 

[Trebor Flow 2]

Jim, do you mix with the mix compressor active or add it in near the end.

I have been watching a DVD called \"Mix it like a record\" (crap name) by a top mix engineer called Charles Dye.

He always mixes with Mix Bus Compression actice (he uses Impact on a HD Excel rig) his thinking is, if you start with the MBC on from the start that you use less track compression and automation.

He also uses Mc DSP console emulation to sim. mix bus saturation, and it seems to work really well.

On our HD rig we have been experimenting with this and at home I have been mixing in Logic with a little Sony Inflator (to sim console saturation) and also Sony Dynamics as my MBC.

Do you add it in from the start at the end or near the end.

I'd be interested to know your approach.

Best

Trebor

 

[Gary M]

I've been reading up alot about this too and am very interested in the whole idea. I have some mixes coming up that I want to try this principle on.

Being on PC SX3.1 I don't have access to McDSP Analogue Channel which Charles Dye uses (which clearly must work well), which is a bit of a bugger. Any of you guys out there using this stereo buss processing technique on native? And what plugs are you using? Colortone by Tritone is due out any day, and that may well turn out to be just the ticket for the McDSP Ac1 replacement on the native platform. As for the compressor side of things, I am thinking of trying a few different ones - Fairchild, PSP Mastercomp, the new URS console compressors when they are available native, maybe the Sonalksis. Or how about the LA2A?

Gary.

 

[Jim Shorts]

Jim, do you mix with the mix compressor active or add it in near the end.

I have been watching a DVD called "Mix it like a record" (crap name) by a top mix engineer called Charles Dye.


Best

Trebor

If you start with the drums its good to click it on when the kick and snare are set. You will use less compresson on all your tracks with this method(a method used by more than 50% of all engineers)

The reason it should be used in digital is you have something that is acting on all tracks at once---anytime something is imparting a sound or movement to an entire mix--it tends to add some glue-something digital needs. Many snobs will say--well if I want this or that I'll just do it to the track itself forgetting the principle I mentioned above.

I just read that Andy wallace uses 4db of gain reduction on his us--some think thats too much...so try about 2db to start and play with the attack(use auto release).

Dye is a great guy...why?...because it rhymes . Im sure that dvd will help a great deal.