Waves REDD .37 / .51

redd37-51-stereo

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.

 

Hint:

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!

 

REDD .37WAVES REDD37-LWAVES REDD37-H

 

REDD .51Linear analysis of WAVES REDD51 plugin.WAVES REDD51-H

 

 

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.

Linear analysis of Waves REDD37 plugin with Penny Cool preset.Harmnic analysis of Waves REDD37 plugin with Penny Cool preset.

UAD Ampex ATR-102

Ampex ATR-102 Open

The Joys of Analog Tape

Calibrate it every day. Keep the tapes in a controlled environment. Push the signal so you get less noise, but not so hard that it distorts. Clean the heads and capstan. Be careful you don’t stretch the tape rewinding. Keep a log of how many punch-ins and re-records you have done. Test the motor and transports.

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