Best mastering compressor reddit. 3) This was a great post to read.

Best mastering compressor reddit ) For general use, my favored compressor is the one in Scheps Omni Channel. Keep in mind - most top mastering engineers rarely use compressors these days. Heavy guitars will be in most cases very loud and full left/right panned and inevitably compressed if you use some glue compression on output channel. Compressors are often used on a select range of frequencies (bass is the best example) so a lot of compressors include this feature. (The SSL Compressor is really usable, and the SSL Channels are great for use on a bus for bus compression and EQ. They have different flavors and applications, though some are more generally useful than others. Honestly FL compressor is great since it's blind, but if you're starting you might understand how you're altering the sound better with the compressor in FL Limiter since it's got visuals. Mastering is more art than science. Then turn off the discrete compressor and switch to the optical compressor with similar GR and hear how that sounds and reacts. Antelope Audio FET-A76 (requires Experiment with different threshold and ratio settings to achieve the desired amount of compression. This is also the same reason people go for program-dependent release (like on a vari-mu comp or in TDR Kotelnikov) or a dual-stage release. R bass is their best bass enhancer. I use Ableton Live. It can be used on anything, really. true. Bruce Sweiden (look him up- Quincy Jones/Michael Jackson mastering engineer) says compressors are for babies bc they ruin transients. As for color, check out this plugin called Kush Clariphonic II, it’s this passive eq that colors and sparkles right into your phase. Weiss DS-1 and the SSL buss comp. Between those 2, i can cover pretty much all mastering compression needs. 3C. I'll set my first compressor to some normal parameters that just sound good for the song, then I'll set the second with a quick attack and release, high threshold, and moderate-high (6 or 8:1) ratio to catch the loudest hits and keep them from clipping. Don't forget that if it sounds best without any compression, then that's the best thing to do. At the moment, both Distressor and Shadow Hills Mastering Compressor are $149 and I know they both generally have stellar reputations, so I was looking at getting one of them. Truly unique and surprisingly so. The usual way to use a mastering compressor is to have a transparent compressor that is doing a dB or 2 of gain reduction. What compressor to use depends on the source material and desired result. I have a number of software compressors: Waves Diamond Bundle with single and multi band compressors, PSP, UAD, etc. Best of luck! Turns out this is indeed nothing like any other compressor I own. Even then, it’s more of a bus compressor than a mastering compressor. As for saturation modules, the Blackbox HG2 and Vertigo VSM-3 are really great, really like them. It's a channel strip to allow last minute fixes for compression, loudness, de-essing etc. ) Abbey Road TG Mastering Chain is another favorite. Think about mixing as you go regularly- ok you hear everything true to what it sounds like- you watch your meters and maybe even do some sub-mix processing to a drum bus or something. Ozone is not for mixing, it's for mastering, I wouldn't use it for mixing unless I really needed something specifi I like the royal compressor by sound device digital but it's an altec rs 124 and UAD Fairchild is probably the best emulation I've heard. There is no magic mastering plugin. Sometimes that's the best deal. You're on the right track with shooting for -12 LUFS, but it's important to understand why you would choose to target a certain level in LUFS instead of say RMS or Peak levels (which is the kind of metering Ableton uses on its faders). Then you will hear the compressor working a bit more. Over time, you’ll use lots of different compressors for lots of different reasons. Compressor: Rcomp. That doesn't mean you can't play with it, but I would be very cautious when applying agressive changes (decreasing more than 3 dbs on the threshold, for example). So if you aim to upload to steaming services, a good rule of thumb is to make sure that no clipping occurs even when compressing the file to 320kbps mp3. There are many more beyond this list. Welcome to Reddit's own amateur (ham) radio club. it's literally just dividing your song into frequency bands that you can compress seperately. I like the buttery smooth Arturia Nieve 33609 and the ultra punchy Lindell SBC API 2500. Happy to help! On the bus channe, add a compressor and select a side chain input from the kick drum. Now play with the attack, release and threshold until you find the movement you want in your track. For orchestral stuff I tend to rely on the optical section a lot more. It’s been a long time since I tried mastering a mix in audacity, but I think the normalize feature is very limited. Plugin Alliance "Shadow Hills Mastering Compressor" ($69. 3) This was a great post to read. VST plugins, tips and… Yeah lots of plugins I use do have a sonic signature in default mode I've noticed. Mix bus compression is generally used to add colour and the character of the compressor to the mix, not to achieve more loudness for mastering. No offense but it sounds to me like you need to learn more before you spend your money. I only tried the demos but they sound really good to my taste. They are amazing, but truthfully almost all of the UAD plugins are incredible. I'm a Logic user and have loved the stock compressors (in particular the 1176 Rev E and SSL G Buss Comp emulators), but I can't help but think there must be some other great third-party analogue compressors emulators that are good at holding a mix together. You have to learn the personality of the gear/emulation to best know when to use what. Take a snare track and compress the shit out of it to make the effect super obvious, then dial around you can hear what's changing when you change the settings- but don't solo it. Posted by u/AdCool2805 - 2 votes and 6 comments. It just works really well (especially paired with Voxengo Elephant, my favorite limiter. The goal of multiband compression is to have the signal at the same volume after compression across the frequency range. I've been professional mastering electronic music for over 15 years now, and I rarely need a compressor and almost never use a multiband compressor FWIW. Because of that, it’s the only compressor I use for any sidechaining duties. it's also a very strong tool to use for parallel compression Some master bus compressors emulated of one of the great famous hardware ones are usually the most essential. 99) through 24 October with code: SHADOWHILLS-6999 Mastering Multiband compression is good when you have a complex signal that needs different attack and release times throughout the frequency range of the sound (kick drums, bass sounds, vocals, busses). The Platinum Digital compressor is sooo fucking transparent. I really wouldn't recommend mixing into a compressor. Best VCA compressor: Unsure Best FET compressor: Unsure Best optical compressor: Unsure Best tube compressor: Unsure Best mastering compressor: Maserati GRP - This is a plugin that not many people have heard about but it's the perfect pre-master tool to get your track's loudness level nice and high before you feed it into Ozone. assuming your mix is 'perfect': mastering usually involves some combination of eq, compression, imaging and limiting. The reason for longer releases like that mastering engineer said is that it’s a lot more transparent and will result in less distortion. The Airband on that is the best. Hello. Having a firm understanding of compression and how it works will greatly help you in determining what settings you should use in what circumstances. Reply reply More replies More replies Not a fan of “pick one and mix into it. There‘s not really such thing as a "mastering compressor". Fabfilter pro C2, SSL X compressor, tone Boosters compressor v4, the Audio Damage one. Same with the Maag 2. Both are great for some “vintage vibe” and saturation for not a lot of money. I would also recommend the LA2A, 1176, Fairchild and Pultec collections for initial thoughts. Any EQ is fine. Companies advertising compressors as "mastering compressors" usually do that as a marketing move. Compressors keep the volume levels constant for the most part and limiters for the peaks. Fav mastering compressor is the SSL Bus Compressor, and for mixing, I like the classic 1176/LA-2A chain. That is a LOT of limiting and compression. Compressor: Warm Audio Bus Compressor Attack: 30 ms Release: Auto Ratio: 1. You can literally use any compressor for mastering purposes, even tho they do sound differently in the end they all do the same - reducing dynamic range. there can be multiple instances of each effect too - each doing less than the amount that one effect would normally do. Good EQ, good spread (not usually a fan of stereo width plugins but this one is good at low settings - automated it up to 1-2 during choruses!). There is no single "best" compressor, it's like asking for the best spice. Set basic compression, saturation and EQ on the individual tracks and sub-busses which is your case is probably guitar, bass, drums, vocals, and keys. Than mix will be compressed or limited further when mastering. Also obviously for any transparent compressor duties where you don’t want to even hear it’s there. McDSP 6030 Ultimate Compressor (SST '76 mode) PSP FETpressor. I personally love Waves products, but Waves isn't for everyone. Was an eye opener! For the most part, with the fancier plugins you are paying for pretty UI, improved workflow and automated/AI assistance, or emulation of classic gear. On every single one of my mixing and mastering sessions. Using a limiter in a mastering chain is for loudness. Usually in mastering all that's in my chain is an EQ for final polish, and the vst I've linked below. I also use it on the mix master for the same reason. All music tutorials for beatmakers, dance producers and EDM producers. 4. Hi all. When vocals and instruments from analog audio such as rock bands etc has inconsistent volume levels. So far so good, BUT: yup. Like a low cut with some rolloff 23-30Hz and below. The advice of compressors/limiters comes from old sound engineer knowledge. It's a versatile compressor with a lot of settings, but most often I just use the "Mix Glue" preset. Also The Glue for most other compressing duties. If you can complete step 2 and get a good sounding mix that you're happy with, send it to a mastering engineer. Like all Bettermaker gear, the Mastering Compressor includes a pure analog sign path and full digital recall. 56 votes, 17 comments. Try this: record 3 or 5 different takes each with a different bus compressor. Does Rvox count? On vocals, I typically run the Rcomp into Rvox as my compression. I think BandLab is the only one that offers free AI mastering with no strings attached but it is not as good as other services. Kind of a difficult question to answer, people tend to approach achieving loudness differently and mastering is quite a deep topic. I think that's a trait of the analogue hardware they're trying to emulate. You don't have much control; it's always gonna target the loudest part of the mix. Shadow hills has many colors lol. For mix/master bus I like the Voxengo Marquis Compressor. . DMG Audio Compassion – the most powerful compressor on the planet; a bit overwhelming to use though, but just the best if you know what you're doing DMG Audio TrackComp – ugly, but possibly the most faithful recreations of both VGA and FET compressors (read up on it) TDR Kotelnikov GE – fat, smooth, and powerful PA Townhouse compressor, ssl native buss comp, GRIP Valve Drive Compressor is nice if you want to add saturation too, api 2500, model 5000, Vertigo VSC 2, VCA-65, EL arouser,. Amps: Guitar Rig 5 Distortion: Guitar Rig 5 Delay: Pro Tool's built in Reverb: Either Pro Tool's built in or Tal Reverb 2 (which is free!) In mastering you’re trying to make things gel as one heaving beast of a signal. Shadow hills has dual stage compression. 3A. I tweaked one to include a multi-band dynamics compressor, an 8 band EQ, a warming processor, a peak compressor, and a limiter. (TDR Kotelnikov Compressor is free, otherwise Pro-C or Waves SSL G). oh yeah totally. I think I prefer the rs124 sound overall though, more recovery speeds and can get a lot of reduction while sounding musical. However, I'm not a fan of applying compression on the master bus, but rather do parallel compression on specific stuff. Keep in mind that project sample rate influences TP values due to aliasing. That being said if the Shadow Hills compressor works 99% of the time then so be it. He only uses compressors for specific purposes if needed, or as light limiting glue on the master (ssl comp is the way) For Mixbus compressors, try the Elysia Alpha, SPL Iron, and Shadow Hills Mastering Compressor. I am a electrical engineering undergraduate and my final work is to build a vacuum-tube compressor for mastering. This will help maintain the overall balance of the mix. multiband over any other type of compression is a mix decision. It adds another layer of complexity that inhibits creative excursions IMO. SSL G-bus, Denise Dragonfire, Ableton Drum Buss(underrated IMO), and Shadow Hills Mastering compressor as far as plugins go. Most rappers track their Vocal with a Tube-tech cl1b thats only hitting peaks at around 4:1~ ratio. You use both a compressor and a limiter for different roles. VCA type compressors will react differently to transistor compressors, and opto compressors don't even have attack and release (just input gain, output gain and ratio, the more input gain you add the hard it gets compressed). I mean, the 1176 has fast and faster attack times. Im trying to get a similar mix like your typical drake/tory lanez song. An extremely versatile, mastering-grade compressor for recording, mixing, and mastering, the Mastering Compressor could be managed through its onboard 5″ touchscreen and encoders, in addition to its devoted companion plug-in. 3B. Compression levels the audio. The main goal here is loudness, but also some other fine touches. So most of the time, I only need 2 bands. Members Online [PA] Looking for an Open-back headset on a budget 0_0 Unless your mastering for broadcast (i. Then I do some corrective EQ-ing. Since it doesn’t sound like you found some special unit with some “mojo”, I’m assuming you just want to have some hardware because it’s cool to have and play with (which The lindell API 2500 bus compressor is great. It has lookahead so can be used as a limiter, and a perfectly passable one at that. I agree with u/_Ripley compressors vary a lot more. And it's the simplest of them all. But again, it's all about taste. SSL masterbus compressors is a third type that is a bit in-between, best of both world arguably. If you have further doubts feel free to hit me on Discord or Instagram, feel free to ask sillystars#6957 - @s1llystars Mixbus processing is a way of getting your whole mixe where you want it to be faster. If you're starting out, I'd actually spend your resources buying the best limiters you can first. Usually, just a limiter or two are used for dynamics processing. You can lose that overall pumpy/rhythmic feeling that single band compression gives you. Take your time and you will find the ones that best suit your application. Imo and experience they did it up like an infinite ration compressor sent into really nice mastering converters. This is how a lot of producers work and always have - the client comes in, they put the music together with the client present, quite a bit of mixing occurs on the fly the client sings their final performance on the production at the end of the session(s). 8ms IIRC. The mid price point version (I think) comes with some mastering racks. Mix bus compression is not (self) mastering. Love the visualization, and it has like 20 different modes that all behave differently. There's a mix knob too. Here you can ask which headphone is better, which amp you should buy, which gear best fit your budget and anything related to headphone comparisons and purchasing. PreSonus FETComp in Fat Channel XT. The mastering process should fix little things like too much highs or lows,lack of clarity, too little high end,etc. A lot of people don't know what mastering is really all about. It's interesting because it can either be quite transparent or very colorful depending on how you apply it, and for a while I was going a little too hard with it and was feeling like it was making things sound blown out and with too much pumping, but once I learned how powerful it is I realized it's best Best Transient Designer or Compressor to catch 16th notes/ dull transients/drum breaks? I haven't found a perfect solution for this yet. Reacomp is extremely good. However, synthesizers and digital/modern instruments have little need for that. Multi band dynamics can work against this if you’re not careful. Do the gluing and character compression on the mix bus. A lot of people think “no flavor” compressors are boring, but they do have their purposes. It has three flavors FL cloud’s mastering is pretty good, Ozone has the best AI mixing capabilities but is not 100% fool proof, you have to adjust the recommended settings and have at least a decent mix to start with. the number 1 plugin for anything is good ears. By applying moderate compression on the master the song will basically mix itself, but its important that all elements blend well together. Or sometimes use 2 native compressors with utility splitting all wide/all mono does the same thing. I use Pro-C and the Waves Fairchild 670 clone for M-S compression. Some DAWs (for example Reaper) can do this natively with any plugin. And yes, I know Spotify's recommendations, and fears of clipping introduced by lossy compression, etc. Which, transparent analog soft clipping is why people clip converters in the first place. They all have their own signature color. Slate Digital The Monster (FREE) Slate Digital FG-116 Blue Series. CLA 76 is wonderfully aggressive (and kind of comes with 2 versions so that’s a bit more value). not song), I'd highly recommend NOT true peak limiting! It ruins transients, makes the high highs feel closed and restricted, and doesn't actually accomplish anything useful. So the oldschool love for slow attack compression was more about tryi Sometimes the mastering engineer wants to take the responsibility of the loudness of the mix and asks the mixer to disable the limiters and compressor on the master bus before rendering out the mix. It’ll help YOU make that decision for yourself based on why you’re reaching for a compressor in the first place. Yamaha Compressor 276. If you can't complete step 2 and can't get a good sounding mix that you're happy with, send your song to a mixing engineer, and then send it to a mastering engineer. I don’t do much mastering, but the Shadow Hills Mastering Compressor is among the best I’ve used. e. EDIT: L2 in conjunction with a little Mix bus compression is maybe all the dynamic master processing I will do. It helps make everything feel a little more "together" or "glued" too; Compre In my understanding, master compression works as a "glue" for the mix generally. I want the needle doing only minimal work. You should tame peaks within the mixing phase. You can aslo try Fruity Multiband Compressor using the preset Mastering 2. The Neve 1084 is awesome on vocals, at least by my ears. This subreddit is for the budget minded audiophile that wants to grow out of soundbars, boomboxes, mini systems, portable bluetooth, lifestyle speakers, and PC peripheral branded audio solutions. Reaxcomp is good for multiband compression, and even reafir is useful for fattening things up when used very gently (there's no time constants to play with, just window size, but having a very small ratio and a very low threshold will proportionally raise the tiny harmonics and make Normal compression will take the loudest parts (usually the kick/snare) and make them quieter, which is not always desired. The SSL G comp is really the only thing that might do the job in a 500 series unit. Hardware emulation is so good now, seasoned engineers can’t tell the difference 100% of the time. You can have two of the same type compressor, with completely different character. Sometimes the mastering engineer does nothing with the mix. Also the m/s compression can be useful on mixes where you want to play My last bit of potentially useful advice is -- another approach is to just go all in on a single developer. Black Rooster Audio VLA-FET. My biggest challenge so far is to find consistent bibliography that addresses this audio theory in a technical, less artistic way - given my background. I use the neutron and even the sonnex transient designer, and they both get lost when there's a quick sequence of hits and have trouble detecting weaker transients. Mix your song to the best of your ability. Using a compressor in a mastering chain is for "glue", tone, transient control, and character, amongst other things. It's nice to have some top tier technical info in here, because most posts are about fighting which compressor has the best sidechain compression. Give your beats a solid mix with eq & whatever leveling/ compression you need, but please, for the love of headroom, leave the mastering to the mastering engineer. I have to stop wasting time on Reddit but someone can ask if their curious about why clipping a mastering adc is analog and not digital clipping. Sometimes I will add another compressor for a dual setup if a single compressor is not working as desired. They may come with fixed control values but will be used for setting a ceiling and pushing the loudness. In a course I did there was a long video by Toby Mason, mixing and mastering tracks using the Reaper stock plugins. I've used 2 compressors to control very hard hits as well, particularly with the snare in songs with wide dynamic ranges. I like to "automate" gains and everything manually. Here is where you can do just a little bit of compression on the loudest part of the song (like 1-3 db of gain reduction) and saturation for sweetening and loudness and finally limiting for loudness (LUFS). During the mix I'll use saturation, EQ, and compression to get the dynamics balanced. Thing is, they have a wide variety of tools bundled together with consistency. I have slate all access, too. That said, punch is something that's a lot harder to get traditionally in the analogue domain - tape, transformers, tubes will increase slew rate and soften transients. Thanks so much for your hard work. Also, once you get into the digital domain you don't really have "mastering" and "non-mastering" plugins. Personally, I’d way rather use software than any of the analog options you’ve mentioned. But each one of these compressors has a few features that make them unique. g eq > compression > eq > imaging > limiting or compression > eq > imaging > limiting) etc. One big one I'd recommend is the Cenozoix compressor, it's nuts. Overloud Comp76 FET Compressor-Limiter. But if you want, you can use a 1176 in a multiband setup 🤷‍♂️ it's just a bit more hassle to setup but it works. Ableton native compressor for most things (the new v9 for compressing and old v8 saved as the default for sidechaining). I use multiband compressor mainly to tame a certain area, like boomy bass, harsh overheads, etc. I really like my Shadow Hills Dual Vandergraph hardware unit, but it is a little one dimensional. FL Multiband Compressor is good but I find you gotta be careful when starting out. I wanna tackle serial compression instead of just using a single compressor, but i dont know how to set the second compressor. That’s right, there’s a guy who’s whole job is dedicated to mastering tracks for artists before they are released. sometimes saturation too. 0. I've not had much luck with that vocal enhancer, basically it's a frequency dependent saturation box, but I felt it was very heavy handed, and I wanted In my mastering chain I start with light compression (glue) with a long attack, short release. Use makeup gain: Multiband compressors often reduce the overall level of the audio signal, so it's important to use makeup gain to bring the level back up to where it was before compression. Set the ratio of the compressor to infinite, and give it an very low threshold value. The two compression types make it pretty flexible. it's good for if you want to leave your powerful low end untouched but control the highs or upper mids a bit, or vice versa. Traditional mastering compressors are typically expensive (GML, Maselec, Manley, Elysia, Shadow Hills, etc) and you may be better served with top end software emulations of such, rather than cheap hardware options just for the sake of having hardware. ” I would rather choose the one appropriate for the track. There are quite a few. Bettermaker Mastering Compressor. The plugin can get aggressive and is good on rock, but that depends on how you dial it in. Mastering is much more than just loudness, but in the context of self mastering most often achieving loudness is what people are referring to. It's super quick to just tighten up the lowend with or giving a basic gentle smiley curve. Slate Digital FG-116 on VMR 2. 5:1 Sidechain HPF: 105 Hz Threshold: Adjust for roughly 2 to 3 dB of gain reduction. And some low side cutting to keep the low mono and If you feel there is a need for compression on guitars, maybe you should rethink how you mix. Also just as good but different, sonnox Oxford Limiter, McDsp ML4000, PSP Xenon Limiter, IK Stealth Limiter, TDR Limiter No. With multiband compression, you can avoid this and be more specific about what sounds you want to compress. Although for bus stuff for drums and master bus, I'll use Brainworx bx_console SSL 4000 E's compressor. That means you can compress the signal two times, in two different ways. Apr 15, 2022 · These are the mastering compressor choices I have : Am I right to think the shadow hills is the best one ? ( I have only had it for a few days ) Shadow Hills mastering compressor ( the old one ) Tim petherick L-Bus IK bus compressor ( I have some others but the selection has come down these ones ) Chain - Compressor - shadow hills from now on Fab Filter Pro-Q 3 is the best digital EQ hands down (gest GUI and ability to solo your eq bands). -- Probably the best deal I've gotten was IK Multimedia Total Compressors- Shadow Hills Mastering Comp, MC77, Pulsar MU, Pulsar Smasher, MJUC EQ- Noiseash Ruletec, BX SSL Consoles Other- Vertigo VSM3, echoboy, soundtoys crystalizer, a ton of guitar cabinet IRs I've collected over years. Listen to it in the context of the whole mix as you make changes. Also some like TDR kotelnikov or Tone Boosters Barricade have a delta function so you can hear what's being attenuated. 4db, and turning the volume knob up or down :) At around 4 db's it's usually okay. The difference between loudest and quietest parts of a song are called dynamics, and compressors are a dynamic tool that reduces the dynamic range by reducing the level of a sound signal that raises above a threshold, shortening the difference between the quietest and the loudest, sort of evening out the level. As for what compressor, I LOVE my shadow hills mastering compressor from plug-in alliance oh my GOD this thing makes anything beefy. some of the best mastering engineers out there are endorsing the CTZ method these days. From "regular" compressors, not specifically targeted for mastering (although can be also used for mastering) you might want to check Arturia and Black rooster audio. Some compressors will let you get away with all kinds of shit and others will be very unforgiving. There are some compressors (like the Alpha) that I sometimes throw on without engaging the compressor just for the color and vibe it adds - generally some kind of vari-mu comp like Pulsar Mu or Puigchild. Mastering is done on the exported stereo track from the mixing stage. Which UAD plugin compressors do you like best for mastering, if any? I'm considering getting more into mastering, and am weighing whether to buy a hardware SHMC or VSC-2, or just go the plugin route. CLA 2a is wonderfully smooth (and very easy to set up). I know they have different purposes, but any opinions on either would be helpful. Feb 19, 2021 · Thanks, Tom: The L1 is a limiter, and I am just thinking about getting a really great mastering compressor that I would just touch lightly on the way to a final limiter. /r/Oasis is Reddit's #1 community for all the latest news and discussion about Oasis, Liam Gallagher, Noel Gallagher's High Flying Birds, Beady Eye, and everything else connected to members of the band, past or present. Slowest attack is something like 0. Ideally the file you are going to master should have most of the work done. Attack & release are set on a one knob scale for 3 separate compressor detectors (from what I gathered is to mimic the combination of compressors that producers typically stack on top of one another). there is no correct order either (e. There is a lot to chose from. You do it at the beginning before you do EQ and compression on individualy tracks just inch your entire mix a little closer to where you want it. Mastering in this day and age is about a second opinion, not about plugins or loudness. I like the shadow hills mastering compressor, the Manley vari mu, and the API 2500. The PA Elysia Alpha compressor is pretty great. After that, it's what you learn to use well and what you like. I’d try the discrete compressor first, use a medium ratio like 4:1, slow attack and fast release to make it punchy and retain the transients. It sort of reminds me of a Neve 33609 style compressor but I'm not sure if it's a direct emulation. Tim Petherick U76. 6. 771 subscribers in the MusicTheoryForDanceMu community. Reverb - their best is probably h-verb but the most unique is abbey road plates and then abbey road chambers. The danger of using a fast attack setting if you do decide to use one is that you're crushing any transients, and you can (typically) more cleanly get rid of those in the limiting stage later. So, if I ever do use it, I’ll follow with a single band compressor, usually. DONT LISTEN TO ANYONE IN THIS THREAD. For hardware I like using either a pair of Symetrix CL-150s or a pair of DBX-163x. If you are wondering what Amateur Radio is about, it's basically a two way radio service where licensed operators throughout the world experiment and communicate with each other on frequencies reserved for license holders. I also like the lindell PEX pultec because it's really very nearly the best sounding pultec plugin. It definitely took me a while to figure out how to use it. I like the compressor and filter too. More of a "glue" rather than "smash" type of thing though. lwe saizst bebgzjn opofu cups gag mhromw fmotinop cnu oiqqeg