Before you do anything else – compare this to the UAD version here.
I like the .37 much better than the .51 for what these are meant to do — gimme some vintage. I also like the way the .37 has less of a low-end bump. If you really want to simply your workflow, try doing a mix using only these for your EQ. You will get a taste of how good the recording engineers were “back then.” You can find my presets for this here.
If you use this on each channel, slightly vary the amount of drive and analog on each instance. Tiny changes will model the small variances of a real board. Be aware though, there were only 4, 6, or 8 channels!
My PC-Channel preset. I have more movement (if you want to call it that) in the stereo field, and more analog noise including some hiss. It doesn’t go overboard on the noise, so you can use this on every channel for a vintage vibe. And like I said, I really like the .37 way better for that. You can get my presets here.
Yes, the king of unusual controls! And it just makes the HLS even more fun to use. I use this as part of a channel strip / console set-up along with the other Kramer plugins. You can read all about how I do that in the manual for my Waves presets here, and you can get the presets here.
Those graphs look pretty clean, a might too clean I would say. Not that I have a 1950s RS56 laying around, but I’m going to guess it was a bit more noisy and added a bit more distortion than this plugin. So — if you were dead set on perfectly re-creating the character of this vintage tool which was first used in mastering for vinyl cutting, you will be disappointed. You know, since you are obviously so familiar with that sound and all.