Your channel is something really different , clean , clear and really high pro ! Greets !!

Very professional channel.

They both sound very nice but the UAD sounds slightly smoother which has my preference. Thank you for comparing!

I like the corrected plugin versions better from this example. The UAD definitely didn't sound as good before correction though. It sounded pretty muddy and a dark before correction. Nice video!

Nice video and always interesting to compare analog versus digital. I have a couple of Klark Pultecstyle Tube EQ's and compared them al lot in (home studio) mixes and mastering with a couple of Pultec plugins(Waves, Softube Tubetech, IK Multimedia). And apart from your test about getting almost the same results from both I did mainly a listening test. My opnion was right from the start that the hardware sounded more 3D, more musical, smoother than all those plugin Pultec versions. Digital to me was flatter, harsher in the highs and more brutal. I also did a Testtone measurement and that gave me a similar result. You could try that yourself. I used a 1Khz testtone and in The Fabfilter EQ there was 1 nice peak on 1Khz with the plugins, all of them. But when engaging the hardware there was not only this 1Khz peak, but there were also a lot of harmonic tones after that. Can be the transforms, tubes or whatever, but to me that was another proof of the more musical sound of the hardware unit.

Thanks :) i prefer the UAD plugin ... for it's sound and all the other advantages ;)

Great info! How do you hook the hardware up for the vocal track play back to mix? Thanks

Hi. Did u do it in 44.1 kHz or higher? I'm curious what the differance would be on for ex 176.4? I already checked all plugins I have and I found out - higher I go with sample rate - better it is. I exported all files back to 44.1 and checked the differance (changing phase) - and there is huge improvements. But I don't have Warm - so cannot compare plugin on high res.

Nice video, i like more the Warm Audio EQP-WA seems more natural and pleasant, in any case with the corrected settings the diference to me were almost the same (even with the .WAVs in Cubase), so with the plugin version i think it will do the job. After saw the price 299$ is quite expensive for a tube eq ;) Cheers

Very useful video.IMO the UAD version was head and shoulders better on the vocals. I think the hate on UAD below are people who spent the moolah on a cheap clone :)

Something that would be very very important to measure is the Frequency phase, normally all the Capacitors and transistors tend to shift the frequency phase and that introduces some variations in the frequency spectrum also due destructive cancellation

Pt 2 live singers vocals ?

Difference: one can be saturated at some amplification stage, the other is just a fancy GUI for a digital parametric equalizer.

I am not bewitched by UAD. Its clever marketing. They sound thin compared to the hardware they try to emulate and lack the smoothness and finesse.

So get both of these. You're going to want them. They're affordable. No reason not to have them. I personally don't need them. I have Neve, API, Sphere, Orban, outboard EQ. And so I don't have a PULTEC. Oh well. I haven't had a PULTEC of my own now. For over 50 years. Sometimes they have them at studios I go to. Sometimes somebody will bring one into mine. PULTEC for a day. And then leaves with the client. And it was fun while it lasted. And you do that thing with them. Yet it works. Yeah it's fun. Yeah you get that sound. We all grew up hearing. But then you're also going to need that Fairchild 660/670 limiter. You can't live without one of those. Even though I have. But everybody knows the Beatles had that old Altec Lansing tube limiter. And they want that Beatles sound. So they get one. But it's never quite the same. Because they also don't know. In the same control room. They also had a Fairchild 660. They tell you about the Altec Lansing. You see pictures of the Altec Lansing. Nobody's ever noticed the Fairchild 660 sitting in the rack. And so they were not giving away all of their secrets. Just some of the elements. The British are crafty like that. Rupert Neve and I spoke many times over the years. He told me the 1073 was the bane. Of his designing career, many times. It was so awful it made all of those hit records. Because it was so awful. And of course once you've heard something better. And I have. You realize Rupert is correct. The 1073 can sound generally, awful. In a shoot out with a Sphere of the same era. You can also do better than an API. Which is nothing to write home about. I think George Massenburg used to hate those. I know Bob Clearmountain does. So API Audio stuff. It is also not worthy to use. Because there is better sounding stuff out there. And why would you want to compromise your music? On something as awful as API or Neve? When stuff coming in from China definitely tests, better! Even though it only lasts one or two years before it blows up and completely fails and is unrepairable. Then you can get something even better newer better newer. And that's always going to be better than older. And that's called ProgrRockction. There is just nothing better sounding than, ProgrRockction. Which includes all of the technical progress into good old-fashioned rock 'n' roll playing and musicianship. And that's ProgrRockction! That's not a computer production. That happens with real musicians, singers and engineers with real equipment. You get ProgrRockction! Only then should you put it into your computer to play with. And see what else pops out.. And where ProgrRockction is basically A A D. Or, ADD. Which I come by naturally. So that integrates well with me. And the way in which I have to work. Differently from others. So I developed ProgrRockction.. And that's the good old-fashioned method. Throwing equipment in a truck. Going out and recording rock bands. While I stay in the truck. And the band stays in their garage, basement, living room, bedroom. Or on stage at their local bar. Or on stage at their local NFL stadium. And I'm plugged into the satellite uplink truck. And I also have my 8 camera video production system plugged in. Along with the Neve and API in the control room. With the UREI, DBX, Orban, Allison Research, dynamic range gizmos in multiples. Enough to have one on nearly every input with a few exceptions. Along with gates, downward expanders and De-Esser's. All in hardware in real time at the speed of light. Passing through very slow sound. At the speed of sound. In a tiny little control room that by all mathematical and acoustic rights. Should sound simply awful. That is one of the best sounding control rooms. Compared to the big multimillion dollar ones that don't sound as good. And acoustic engineers don't understand what I'm doing? Because all they know is the math and the textbook and the college professor telling them what they can and cannot hear. Really now? That's kind of stupid. Don't tell me what I'm hearing. They don't know what I'm hearing. They don't hear what I hear. They only think they do. Because they have a college degree. And I have to teach the college professors. That they are wrong. And what they have been teaching and assuming all this time. It's sad, I know. But that's real life in the land of Pro Audio. It never used to be this way. Back in the day. When we were all real actual, engineers. Because we had to be. Now it's a hobby. And a professional hobby. It has become nothing more. Than, a hobby. Because actual good acoustics are only needed. When you really want them. Houses do not make for good acoustic environments. But they are usable. When you like everything in a dead, dead, dead, sounding, studio. And that was kind of like back in the Disco Days. But then everybody wants big ambient drums. And these convoluted reverbs and get disappointed. Because it's not a Plate reverb. So then they get the better hardware accelerated real-time USB gizmo. And it says EMT plate. But that still doesn't really sound like an actual plate. And it never will. It's a decent authentic emulated imitation again. And does not sound like a plate. If you've ever had one. And I've had more than one. They aren't bad. Some very nice days. But they ain't no plate. Only a plate. Sounds like a plate. Everything else sounds very, digitally. A good fake. But a fake just the same. And furthermore…

All of these emulated and cloned items. Are kind of like. Getting an old used VW beetle. Scooping up the motor. Removing the body. And bolting on. A beautiful. Authentic, looking. Fiberglass Lamborghini body. Now what do you have? You got a car that looks like a Lamborghini. Cruising up and down the left or right coastal highways. And you will be looking and cruising real fine. It's likely to get you laid very easily. You will have a lot of fun with it. But you're not going to win any races coming away from a red light. You won't win it at the dragstrip. You won't win it at Daytona. But it sure would look like you should. If, you didn't have a little four-cylinder air cooled VW engine. Swapping engines for a flat 6. May improve your ED? Still likely not winning you any races but. You might at least then come in second to last. To the guy that has the VW four-cylinder engine. Because it won't be that 12 or 16 cylinder thingy coming from those esoteric manufacturers. It'll be from a rebuilt Corvair engine. That's sort of like a Porsche engine. But again, not quite really. A good emulation thereof. Flat, air cooled, six and a couple of carburetors. Like a Porsche but not exactly. It'll sound better than the VW engine when you rev it. So that's all that matters. That's what helps your ED. The same can be said for these unique equalizer offerings. Showing medical progress in treating your ED. Your Electronic Dysfunction. What did you think I was talking about? Your other ED? I would never violate your privacy in that manner. I won't tell anybody you have that problem. I promise!. And so no. I was talking about the equalizers. I want to be clear about my equalizers. They should have no ED. Of course you might just have to limp along with only one little equalizer? But it's better than not having one. I'm a girl and so I don't have one. I would let any guy get near me with one of those PULTEC's. I mean those are big and scary looking and rather dark and ominous. I don't want those shoved into any of my sockets! Unless they are gentle about it. I'm very sensitive about my patch bays. I never just shove a plug in. Because you can hurt the tips. And then you can't get your nipples to hold onto the rod, properly. No I shouldn't be censored! I'm talking about audio equipment! What does everybody take me for? Some kind of old retired screwball audio engineer tranny bitch from hell? You would be correct in that assumption. But I'm also a great audio engineer. And I know what you don't understand of what I'm talking about. And that's all that matters to me. That I understand what I'm talking about. You should also. But most won't. They won't get the message. In other words. You could never have too many audio any things. And while you can. Much of that has to be screwed into racks and takes up a lot of space and weighs in at literally, tons. With all the damned iron core transformers within. And it's loaded with them! So today it really just comes down to. How much room space do you got? To set up your miserable junk Chinese equipment? If you don't have much room. You want a little digital control surface gizmo. If you have quite a bit of room. You want to get yourself a digital console. If you have more money than you know what to do with? You get yourself an API or Neve, SSL and the like. And you plug it into your high-end converters. The cost you a cool $15,000. Then and only then. Can you make decent worthy professional recordings. And of course that previous paragraph was all total fucking bullshit. While it's not. It is. I have all that great stuff. I would be fine using all Behringer, ALESIS and Mackie stuff. And no one would ever know the difference. Use whatever equipment is put before me. I know what it can deliver. I know what it can't deliver. And that's the most important thing. What it can't, deliver. Not with the stupid specifications say it's supposed to deliver. But what you know. It can't do. And then you can make a decent recording with it. But not unless you understand and know what it can't deliver. And that's proper headroom. And so you have to know how to cheat the headroom. And people like myself that understand its internal design concept. Know how to do that. Not folks that don't. Then they are pissing in the wind. And providing to you all of their proper misinformation. Where KZfaq is now rife with self-professed experts and total incompetent misinformation. Through no actual research of their own. And therefore have no real idea of what the FUCK they are talking about. But it sure sounds like they know. Great! It certainly thins out any competition for me. Because I know what I'm doing. I've been doing it for over 50 years. At the highest professional levels. At the hit levels. At the national television and radio, levels. With the chart topping bands. Everybody goes wild over. It's just another fucking band! Shut up, stop screaming and listen to the band you paid tickets for! So I was never one for attending or purchasing tickets to go to live shows. You had a pay me to go to those shows. And usually for backstage. And an identifier passes said I was the EIC. Okay what's in EIC? That's an acronym for Engineer In Charge. Because I was the EIC for the broadcast feed. To the local FM rock station. And the MTV satellite uplink truck. Then I got really freaked out. When one of my remote recording truck competitors. Came walking into my control room in my truck. And I said hey Vance what are you doing here? From, Sheffield Recordings LTD. He said they were there to record the rock group BUSH. I said no I'm doing the broadcast. They contracted me. He said no. You were contracted for the broadcast. We were contracted by Bush to record Bush, lives. And our semi truck is out in the parking lot. I said cool! So we both made simultaneous 24 direct recordings of the group. Mine got broadcast live in real time. Bush later released their live album. I like my recording better. We all used the same microphones. I had a Sphere Eclipse-C. They had an SSL 4000. I had the better microphone preamps and EQ's. They should've used my tracks! And they could've gotten my multitrack recording for a lot cheaper price! They were probably charged at least $3000 for that recording. I would have sold them the multitrack's for $300. What a bunch of stupids! You track through a Neve. You mix through an SSL 4000. What didn't they understand? What a bunch of maroons! I need that's just stupid shit. Mine is absolutely monster sounding! Theirs is thin sounding. From those SSL microphone preamps. Mine is super fat. it's always something like this RemyRAD

Yeah but you're comparing apples to, pomegranates and guava. Oranges need not apply. What you actually have proved here. Hardware items are fun to play with. With your fingers. Software items are a great and perfect cartoon representation. Of somebody's wacky doodle algorithmic gobbledygook. And so if it looks like a PULTEC then, it will sound like a PULTEC. Yeah no. Yes, definitely not. So really to make this demonstration, viable. You could have at least rented a PULTEC for the day... And here's how the real thing sounds. In comparison to this clone and this software. Yada yada. Because otherwise. This review actually has no merit in comparing anything. It was immediately obvious. Hardware settings versus software settings. Don't seem to sound or respond or act, anything alike. But it does put on a good show. And as much is I love what WARM Audio is presenting. It ain't no PULTEC. It's a groovy retro looking, vintage inspired, familiar layout, of a classic lovely first generation Gizmo Tron. Similar to one of the first, if we could only modify the texture of the sound a little, to patch in. First-timers around when I was born, 65 years ago. And was something that caught on. But then everybody wanted one of those on every freakin' channel of their tube audio consoles. And everybody said, what! Are you nuts!? Sit down, shut up. Until Saul Walker Rupert Neve and George Massenburg, had at it. And they ruined us all for ever. So now people want to get back to the good old times and their roots. And something that takes up impressive amounts of rack space for a single channel. But hey. There ain't nothing else like it, laid out that way, you can get in an, audio console. So no matter how you slice it. Both are, viable to own and use. From the rank amateur beginner home recording enthusiast. All the way up to the experienced, amateur home recording enthusiasts. But to an actual engineer that has a real PULTEC. They quietly laugh under their breath. And thinking. Keep on dreaming kids. That don't sound like no PULTEC. Looks good though. It looks extremely familiar. Like the real ones. And hey. I even like the WARM clone PULTEC faceplate. Better than the original PULTEC. Maybe I could just get one of their faceplates. To gussy up the appearance of my PULTEC? And wouldn't that be funny then. How come your WARM PULTEC EQ sounds better than mine? I would tell them I am using low capacity intelligence cabling. Which they would then find almost impossible to acquire. Because it doesn't exist. And you just keep the fun going. Bottom line here is. They are both effective equalizers for your productions. They don't use a single tube. But they do use billions of transistors and millions of lines of code. And of course something like that would sound like the real thing. Right? No? Yes? Sort of? Sort of yes? Sort of know? Sort of don't know? And sort of, no. Neither sounds like the real thing. And never will. Because it can't. One is transistors and chips. The other is lines of code. The original is Thermionic Transconductance. Say that fast three times. And then realize there are more tubes inside than that. Thermionicly, Transconducting. The tubes are a symphony of their own. With little piccolo and flute, heaters. Little violin and viola main grid. With other little woodwind and brass support grids. With the low frequency double bass and timpani plates. While the conductor presents the high voltage conducting to the anode. Sitting in the pit of the cathode. Where the sound comes out. And is amplified throughout the theater. Of your speakers. And that's a PULTEC. And that's not a transistorized no are numeric digital representation. But is in fact an authentic, artificially emulated imitation. That actually sounds and works. Nothing like the original PULTEC. But how would you know if you don't have one? When one is in your rack and what is on your computer screen. Then it must be a PULTEC. Sort of. So not to worry it's still worthy of owning. For your makeshift home productions. Even handy for actual professionals. In other words. I wouldn't turn one down at the right price. And they are both the right price. For fun and affordable, useful, fucking around with. That both amateurs and professionals, will both enjoy. Because it just kind of looks like a PULTEC. And that all gives us a nice warm fuzzy feeling inside. Therefore, all right. If the imitations sound a little fizzy. As imitations do. I mean it's not real Coke. It's Walmart Cola. And well, when cold and on ice it's refreshing, consumable and wonderfully fizzy. But it's not Coke. And we really don't care. Though some are neurotically OCD about what they want. And they will throw temper tantrums. Adult style. In a childlike way. To prove their Audio Authority and Prowess. IT ABSOLUTELY SOUNDS AND WORKS JUST LIKE A PULTEC! Some will say. And so it does for them. The don't own one. Of the original real PULTEC, deals. When you've actually used one. It's like all of those wonderful affordable condenser microphones out there. That look like but sound better than a Neumann U-87. And only cost 200 bucks or less. Or how about that 47, for only 300 bucks? And what have you been doing with that nitrous oxide tank you said was for your car? Because I know. That stuff. Makes everything sound like a PULTEC. Therefore it is great to have on hand in the control room, always I remember those good old days. These scouts were learning how to be prepared. In a bit of a kinky manner but. They were obviously learning an important life lesson. Where babies come from. They don't make scouts like they used to. I mean scouts. They don't make scouts. Like they used to. Because now they are lesbian girl Boy Scouts. And that sort of like these emulated and clone PULTEC's. It's kind of like Cub Scouts and Boy Scouts, the Brownies and Girl Scouts. Before you actually get into the US military. With a rank of PULTEC. So you are first given the toys to practice upon. That way. When you finally get your hands on an actual real vintage PULTEC (rebuilt and restored). You will need to have an airsickness bag on hand. When comparing that to the hardware clone and software emulated version. So make certain to have the airsickness bag. So you do not spew forth onto your own equipment. There will be no hurling. On to your keyboard. Do not eat first! Have no alcohol beforehand. I would recommend a soothing cup of hot chamomile tea. Before you run the actual comparison. Between the other two versions and a PULTEC. Then never admit to being embarrassed for having the other two. Because you will use them. When you don't have enough, PULTEC's in your rack. Few people have more than one or two. And it's difficult when you want 8 or 48. And you're willing to make compromises. Where compromises can be made.