Thanks man 🙏🏼 Yeah so there majority of my mixing is done ITB, but I have a bunch of 1176s, an LA2A, a pair of Dolby A360s plus some other EQs I can run into when needed.

Yep - that’s exactly what I showed in the third example lol

@@adamfiascoVEVO yes , i was at the beginning when i wrote that haha

@@mrtod971 haha ;)

Haha 😢

Yep, they work best together!

Appreciate the comment man and stoked you’re finding the video helpful! Take care 🙏🏼

Appreciate the comment man - thanks for watching and I’m glad you found it useful!

Took the words right out of my mouth. lol Good info. Thanks for doing the typing.

You explained that far better than this guy did 😂

Thank you

Thanks dude, appreciate the comment 🙏🏼❤️

@@adamfiascoVEVO of course! I’ve been trying to grow my channel now for over a year so I definitely respect and support other creators.

Thanks for stopping by and leaving a comment! Glad you like the music and found the video useful :)

Hey John. Glad you found the video useful. Thanks for watching and leaving a comment, it’s much appreciated

Glad you found it useful :)

Thanks dude! Yep - so many artists struggle with that as they're stuck in the old ways that don't work any more. Lots of opportunity though once you have a small but solid fanbase!

Awesome man. I think the UAD ones will be great - I have limited experience with their stuff but it is really good from what I’ve heard. Alternatively you could grab the Slate All Access Pass - that’s cheaper, has more plugins and also has a few 1176s and an LA2A

I’ll see how it goes, I’ve got a two week free trial before I commit any money, will definitely consider the Slate subscription though.

I’ll see how it goes, I’ve got a two week free trial before I commit any money, will definitely consider the Slate subscription though.

@@DeanFromPFwhich way did you go? I went with the full subscription and I think it’s awesome!

@@officialWWM I went for the Spark subscription in the end and have had it since I originally wrote the comment, so I’m a medium term user I guess. I think Slate is still worth a go as mentioned before, and I do use other Slate stuff such as the VSX headphones and plugin so I can vouch for the quality of both companies.

Hey dude no problem glad you found the video helpful. Yeah the CL1B is an ace unit and sounds amazing. Kinda similar vibe to LA2A as they’re both opto comps, the the CL1B has way more control when it comes too attack and release. More modern sounding too. The LA2A is super smooth, warm and quite vintage sounding. Can’t go far wrong with either.

But isn’t that a guitar pedal?

​@@officialWWM ​ @officialWWM It's in a pedal for guitar use, and better sales, but it is not unlike the Universal Audio 1176 compressor. I actually just wrote three paragraphs with good links on the qualities that made the 1176 so desirable, but I accidentally closed the sidebar window. Ugh. In my investigation I found that the UA 1176 was the first Compressor Limiter to be fully solid state, after it's successful vacuum tube predecessors. I've discovered through the years that the FET ( field effect transistor) saturates very nicely for audio. So the FETs and the nice transformer saturation, and you've got a great compressor limiter. Now on a pedal board Donner kind of just took the best design elements from the 1176. There are FETs in the Donner LAX COMP. It's design is on the Transconductance chip. The LAX COMP works really well as a Booster, with a boost in highs with its bright switch on, and when playing clean solos the sustain works great. So now I am going to try it with a microphone. The 1176 clones either do or don't have the saturation elements. There are other pedal clones and several rack clones, but the highest praised deal with the saturation elements. Check out the videos: - "DO NOT BUY THIS" KLARK TEKNIC 1176- KT -The Ultimate 1176 Shootout Vintage Originals.... And this guy's channel is great, vid: What Does Audio Transformer Overload Sound Like? I actually use the UTC O-1 Line-to-Grid transformers in a simple configuration to introduce that wonderful transformer saturation. I drive the transformer on pin 1 input to 6 pin output using a speaker output padded down ( L pad) signal. Then pin 6 becomes my new output.

@@paulj0557tonehead all that is very interesting but it’s virtually useless in a studio.

Yeah that’s what I showed in the 3rd example… running them in series can really sound amazing and you get all the benefits of both units.

There are some amazing outboard EQs, however I feel less of a need to own them as IMO the digital version's these days do a stellar job. Companies like SSL, Neve, API, Maag all do great sounding EQs. I'd love to own a pair of hardware pultecs but it's just not cost effective lol

@@adamfiascoVEVO thank you

It depends. Anywhere from 1-4 takes for a lead vocal. And then generally for harmonies and BVs these would be tracked in pairs, or quads for each part.

Audio interface is a Lynx Aurora n Mic: first song is a U47, second is a 251, third is a U47 Preamp is a Neve 1073 in all examples.

Cool idea. I think this would make a cool video to see how close these units are to those models (obviously there will be some differences - even hardware units don't sound 100% alike), however they would need to be carefully calibrated to make it a fair test!

@@adamfiascoVEVO Yes, I subscribed. Waiting anxiously! Please do take note about above settlings. FG-116 output not above 30, it won't have output saturation, but due to no aliasing, the compressor's intended function works without any flaw. You can use output saturation of FG2A rather. There they have taken care of aliasing extremely well.

The screw just controls how the compressor reacts to higher frequency’s. You can adjust to taste depending on how bright or dark you want the vocal to sound

@@adamfiascoVEVO oh, thank you! I was little confused when using it :D

@@adamfiascoVEVO btw if we here, can I ask how should i set my comp to get away from too fast word start? I mean if the singer is starting with the first word, sometimes i got peaks like example word, "Poster" instead of smooth "poSTER"

@@nunu9849 this sounds like something you would want to deal with while tracking. Are you using a pop filter in front of your back? You could also try backing away from it slightly too if you’re getting too much proximity effect.

@@adamfiascoVEVO yeah, i got pop filter, acoustic treatment isnt as good as it should be, so usually tracking is close to the mic, i track with cl1b manual mode, cause When i turn fixed, the vocal is too thin (dont know if it should be), so the attack is set to around 7.0 (slow) and release around 3 (fast) is that good for tracking something like rnb pop style? Also i can tell maybe i got something wrong with compressors in post mix, i use cla76 with slow attack and medium-fast release, then rcomp (but this comp is hard to set for me). Rcomp sound good but if i set example attack 20,and release 40, it sound ok but the words are not that clear, but then i set 0.5 and 80, it sound better but theres no body at all

I honestly don’t think I could choose 1 between the 1176 and LA2A. They’re totally different beasts and do different things.

@@adamfiascoVEVO I finally opted for a hand-made Gyraf 1176. Maybe I'll get a warm LA2A later 😁

The Rev D is yes. Not the bluestripe.

Vocal is mono but with some stereo FX on there. The metering is also stereo obviously.

Don’t have either :( Although I’ve tried the 103 and didn’t like it at all

@@adamfiascoVEVO ok thanks for response

What about it?

Lol - sounded great when it was played on Planet Rock by Joe Elliot 😂 I’m less bothered about how things sound in isolation - nobody hears vocals on their own, more so how they fit and sound in the overall mix as a whole. Thanks for the comment and taking the time to watch though :)

Also ‘without’ at the time you mention is me talking not the song vocal. 😂 am I missing something 🤔

​@@adamfiascoVEVO @ 3:38 I was off by a few seconds lol sorry. I was referring to the entire original vocal having reverb masking dissonance. You should know what I'm talking about and hear it immediately. Engineers use techniques to fix this. There's even dedicated plugins for it. C|-|3c|< Tony Visconti / Eventide Tverb for an example of something to copy. There's lots of videos about this stuff on KZfaq, just 534|>_C|-| for reverb ducking.

@@adamfiascoVEVO Please excuse my odd letters/numbers, those two words have been banned by KZfaq and the post is instantly deleted if I use them.

@@zyxyuv1650 cool - I totally understand what you’re saying. But back to my original point, I only really care what the vocals sound like in the overall mix - not in isolation. And the vocals work great in the final mix/master and the band did really well off the back of this single 👍🏼

Yep… chaining them is a classic way of using these compressors - that was my third example haha.

Why? The most important thing is how it all sounds in the mix. Not in solo, not dry but how every listener will eventually hear the track. That’s why I left FX on.

@@adamfiascoVEVO If you say so

Example #3 😂

thanks I guess 🤷🏼‍♂️😂

Lol I honestly can’t tell if this is satire or not 😂

@@adamfiascoVEVOI hope it is…

@@MrLivebynight 😂😂