EQ Magazine - May 2008 - (Page 60)

Soft Machines MCDSP EMERALD PACK NATIVE A Bundle of Joy by Garrett Haines With so many great DAW options out there, I’ve been tempted to switch from mixing in Pro Tools. But every time I tense to jump, I realize I would lose all my native plugs, so I’ve stayed put. Now, with the McDSP Emerald Pack Native, I find myself in even more of a pickle. What’s so special about this suite that it keeps me from buying Logic, you ask? I’ll tell you. OVERVIEW The McDSP Emerald Pack Native covers a lot of ground. Packaged with a printed manual and a pre-programmed green iLok key, the bundle comes complete with McDSP’s Analog Channel, Channel G, Chrome Tone, CompressorBank, FilterBank, MC2000, ML4000, Revolver, and Synthesizer One. To make matters more interesting, several titles play host to multi-application configurations within their specific plug-in. If you want the full spec rundown, shoot on over to www.mcdsp.com. ANALOG CHANNEL The Analog Channel actually has two channels: AC1 emulates a Class-A gain stage, and AC2 emulates popular tape machines. My first impression is that the AC1 is simply killer on a mix bus— especially the Channel 1 preset. I almost hear some SSL love with this puppy. One of my favorite applications for the AC1 is to use it as a clip remover for tracks that were recorded a touch too hot. Simply select an attack speed that is fast enough to catch the offending transient, and the AC1 will smooth things out and make the event sound more like analog distortion than digital lightning. In addition to sounding good, the AC2 is a veritable see-and-do classroom for analog tape enthusiasts. Parameters such as bias, playback speed, and alignment equalization are included. You can even pick different tape formulations. A small display window shows the frequency response for each model, making it easy to see how giants such as Studer, MCI, Ampex, and Otari earned reputations for their individual sounds. Channel G’s five-band EQ/Filter section. FILTERBANK FilterBank is comprised of 10 plugs, from filters to shelving circuits to parametric EQs. To organize this array, FilterBank is divided into four series: B-Series (band pass and stop filters), F-Series (high- and low-cut filters), P-Series (parametric EQs), and E-Series (shelving EQs). Of course, features such as gain and Q width are here, but the hidden power of FilterBank lies in its peak, slope, and dip controls. The peak function lets you tailor the transition from shelved to nonshelved frequencies, while slope/dip lets you adjust the over/undershoot of the shelf. So, in addition to your daily EQ tasks, you can coax some of the wildest and unexpected non-symmetrical curves out of FilterBank. This is great for carving out the sonic interplay between bass guitar and kick drum, or for harmonic notching of synth tracks. COMPRESSORBANK AND MC2000 In the CompressorBank plug-in, almost every major compressor topology is covered. In simplest terms, we’re talking about detection circuit, knee/curve shape, side chain, and pre/post EQ. In the real world, each of these areas represents a crucial design decision, as the choice of approach and materials significantly affects the final sound of the compressor. Again, McDSP lets you lift the hood and see the internal workings of different compression designs. I’m not ashamed to admit I’ve sat with CompressorBank to woodshed my compression skills (and, in the process, created my ideal Franken-Compressor). For audio production, CB1 is the basic unit, giving control over standard compression factors such as threshold and ratio, while bringing the McDSP’s multiple peak-detection circuits to the party. CB2 adds a pre-filter, and CB3 adds a static/dynamic EQ to the features of the CB2. Finally, CB4 provides a large set of McDSPtweaked emulations of many popular compressors, including vintage and current favorites. Pay extra attention to the side chain area. The key function lets you pick what signal is used to trigger the compressor, and the key listen button lets you hear the exact feed the compressor will use to do its work. This is the foundation to de-essing, frequency dependent compression, and other clean-up tasks. Instead of slapping a wide-band across an entire spectrum, use the smallest tool required for the task. In short time, you’ll start to hear a major improvement in the quality of your mixes. These are the kind of things that separate the pros from the weekend warriors. Should you require more than one compression band, the MC2000 is the multi-band version of the CompressorBank. CHROME TONE Chrome Tone is a guitar amp factory, providing amp modeling and effects. Changing tone and speaker settings is straightforward. Chrome Tone is fine in this area—especially on the distorted stack sounds—but it really shines as an effects unit. From mangling drum loops to flanging the whole drum bus, it’s all good with the Chrome Tone. In fact, try Chrome Tone on vocals and keys. Pull up a blues break-up box, and add some grit to that virtual instrument track, or make your voice sound like it is in a collapsing hole. On slow bass-guitar lines, pull up a really clean amp, and add the slightest hint of chorus for a thick, fretless feel. 60 EQ MAY 2008 www.eqmag.com http://www.mcdsp.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - May 2008

EQ Magazine - May 2008 Contents Talk Box Sounding Board Jamie Lidell, What the New Model of Record Deal Means to You, Part II, Andrew W.K. Tool Box Aerosmith Fast Tracks Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet DigiDesign Pro Tools LE 7.4 Cakewalk Sonar 7 Line 6 UX8 Studio Projects CS5 Art Tubefire 8 Jazzmutant Dexter MCDSP Emerald Pack Overloud Breverb KRK Exposé E8B Mackie MR5 Blue Sky Exo Monitor System Big Fish Audio Around the World in 80 Raves East West Fab Four Virtual Instrument Sony Matt Fink- Starvu Session Keys Room With A VU

EQ Magazine - May 2008

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