EQ Magazine - March 2009 - (Page 44)

MIX BUS Fig. 1. Adding analog components to the recording chain. Fig. 2. The SSL G-Equalizer from Waves. USING ANALOG GEAR WITH DAW MIXDOWNS by Robert J. Shimonski With DAWs, most engineers use digital plug-ins for effects processing when recording and mixing. Although digital recordings are well-known for their low noise, low cost, near perfect audio quality, and easy editing, this doesn’t mean they’re the best solution for every situation; in fact, alldigital productions run the risk of sounding “sterile” and one-dimensional. On the other hand, analog systems are known for the character and “shape” they give to your sound, so let’s explore how combining the two can benefit you and your recordings. USING AN ANALOG PREAMPLIFIER If your overall mix lacks character or is too dry, try sending your final mixdown through class-A preamp circuitry to add the color and warmth of analog before final processing. Figure 1 shows the DAW’s output signal being sent through a pair of class-A preamps, and then to a mastering deck for adding final tweaks and getting the product ready for Red Book creation. Even if you don’t use a mastering deck and bounce back into two DAW tracks for export, the analog element still makes a difference. Most preamps (see sidebar) come with high-end circuitry that allows enhancing the sound, as well as manipulating the frequency response utilizing filters and other features. Of course, the “core” technology makes a difference as well; a tube preamp will sound different compared to a solid-state type. USING ANALOG COMPRESSION Another way to interject analog sound into your final mixdown is with an analog compressor and/or limiter—this makes the perfect complement to the analog preamp. A good compressor provides the flexibility to add analog dynamics control to any recorded element: individual tracks, a submix, or your final mix sent to a mastering deck (if you run out of hardware, bounce the track through the analog gear). You can send your signal from your DAW, through the analog compressor, then the analog preamp, and finally into the mastering deck—this gives the best sequence for tweaking your sound after final mixdown. However, be very careful about applying compression in your final mix. Over-compressing your signal can make the overall product sound “squashed,” and may add hiss. Make sure you test each mix on a few different sets of monitors (including ones that accentuate the frequencies you are looking to pull out in your mix, so you can hear that part of spectrum as clearly as possible). COMBINING ANALOG AND DIGITAL EFFECTS Although there are some amazing plug-ins that really can augment your recordings, many would still argue that nothing adds the warmth and color obtained by sending your digital signal through an analog device. But then there’s the issue of budget, as you can’t necessarily afford every piece of outboard gear you want. Fortunately, there’s a compromise between remaining 100% digital and using tons of analog gear: Using digital plug-ins in conjunction with some carefully-selected analog equipment. Just like the hardware mentioned in the sidebar, you can buy plug-ins that are digital remakes of celebrated analog equipment. For example, Waves is a company well-known for their quality plug-ins that many would ANALOG INSERTS IN A DIGITAL WORLD Many DAWs now provide a way to treat external audio gear as “plugins” within tracks or buses. Basically, you insert an “external gear” plug-in that sends the signal to an unused output (or output pair) on your audio interface. This patches to your analog gear, which then returns to two unused inputs on the audio interface and appears at the plug-in’s output. The only downside is the latency caused by going through additional stages of A/D conversion and interfacing, but several programs provide automatic compensation, and with those that don’t, you can always do manual timing adjustments by moving tracks forward and backward in time. —Craig Anderton 44 EQ MARCH 2009 www.eqmag.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - March 2009

EQ Magazine - March 2009 Contents Talk Box Sounding Board Mr. Scruff Apollo Sunshine Al Schmitt Toolbox Third Eye Blind Kind of Blue Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Ableton Live Vocal Tools Gadgets & Goodies Room with a Vu

EQ Magazine - March 2009

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