Congrats! They make REALLY good products. The Massive passive is an awesome piece as well.
!!! OMG, I wouldn’t NOT want to have to be sitting on that kind of inventory. And the size of Eveanna’s buyer base would scare me to death. I wouldn’t doubt you know your own business model well, but doesn’t the risk to return ratio of an account like that worry a bit?
This wouldn’t scare me. To start off you can make these items “special order” so you are not carrying stock. If they require minimum purchases then it is time to work with your dealer rep to ensure you don’t get screwed.
The Slate Red for rock stuff .I still use the Waves ssl a fair bit
I do like the waves SSL quite a bit although I don’t get to use it a ton because I find hardware a little less aggressive sound while being more aggressive acting.
Yes the hard wear blows it away but its also a lot more money as you know
To be fair I get my butt kicked all the time by people who are totally ITB. I wish I could buy my way to great mixes but I fight my way as high as I can every single time, hardware or ITB.
I’ve been using the old 32 bit Aradaz maximizer to get things loud. It just sounds good to me.
Plugins are so good now days its getting harder to tell what was done in the box and out of the box
Waves SSLcomp… this compressor just do the job very well. GLUE
I prefer any compressor with a fast attack during mixing and Acustica TAN compressor for mastering.
I’m an ITB guy where this is concerned, so those caveats apply. With that said, I love the Slate FG-Red (already mentioned by several folks) for anything on the modern rock/aggressive side. The drive knob is really cool. FG-Grey is cool, too, (although it often loses out to the FG-Red!) and I do like it better that the IK emulation of the SSL Quad Comp which I also have. Can’t tell you exactly why, I just can’t seem to get the IK Bus Comp to sound right (although the grit button is cool and I do occasionally use that plug on something other than the 2-bus.) The IK compressor I do really like on the 2-bus, though, is the is the Precision Comp (the Neve 33609 emulation.) That one occasionally wins out, depending on the track.
AW! I almost forgot.
Boz Mongoose. Not a compressor, but one hell of an awesome 2 bus processor.
Thought I’d throw that out there.
Although this may seem counter to what I said in an earlier, I like this question better… “What do you use and why?” seems better than "should I?"
Anyway… I do use 2 buss compression and most of the time it is a waves ssl. It goes on fairly early in the mix. As soon as I have the music tracks at gain, it goes on. Sometimes it will go on before IN ORDER TO get my gain staged. If I hear compression happening, I know I’m going in too hot.
I want the needle to just be slightly twitching (not even 1db) for the end result. Anything more and I can hear it. So that’s mostly why I like it. Other than that, I just like that way it colors the mix and “makes it sound like a record” I actually hate saying that as much as “glue” since I try to have my mix pretty cohesive without the SSL. But if the shoe fits…
I’ve tried a lot of comps on the mix buss. But always gravitated back to an SSL type. I used a Smart SSL clone in the hardware form. I guess I’m used to it.
My first real in the box 2 buss compressor choice was the Tokyo dawn feedback and later the kotelnekov (sp?) They did a GREAT job at mix buss compression. But I wanted more character than utility. So in going down the SSL path, I used a few free emulations (DCAM is good), the glue(mix knob is cool-but I didn’t use it), stripbus by sknote(excellent). But it turns out that the waves SSL is the lightest on CPU and gets closest to what I have in my head.
As for the sound that I’m after… It’s hard to describe. But the waves ssl seems to put the mix inside a specific space. But also spreads it out and separates it at the same time. That’s my story and I’m sticking to it…
Tell me about it, Mr. Tolstoy.
I have usually been going with the Slate Red Buss Comp like a couple folks here have already mentioned. If i do that then I’ll sometimes start with the CLA Drive preset and work the controls a little to suit the music I’m working with. That being said, I have plenty of love for the Grey also, again just depending on the type of music I’m messing around with.
Hi ManAbyss, you got a very good point. I believe that everybody, or almost all, look for a ton of plugins, including myself, in the begining of the jurney in the mixing. Probably this is a feeling that most of us have based on youtube videos of the famous mixing guys and we close our eyes to the fact that they can do a very good mixing with just the stock ones. So your point to have a few choices and probably know very well those are very key and spend the rest of the time creating.
Heard that once from Graham from the Recording Revolution and it is a true.
Thanks for the heads up!!
Red 3 hardware… You can hit it a bit harder yet it doesn’t bite into the mix as hard as say the SSL
What a coincidence!
I use Limiter No.6 by the same people that make Molot.
I like the slate red for rock stuff. Also API 2500