Analog Heat and master buss processing

[Bassil]

Good to know. Many thanks for clarifications, very very useful for me. Please let me know when you find the optimal combination.

[hotscience]

I wish it were just latency! For me, even when recording dry (no OB VST), the transport lurches ahead. Then it also lurches ahead on playback making things even more glitched. I do have Studio One and Acid pro on my machine and I plan to give those a try tonight using the AH as the interface.

[tsutek]

Sorry to hear you’re having problems. I am on a mac so dont know how the windows side is like, but when I originally got the AH first, I needed to upgrade my OS to OSX 10.12 before I got audio streaming working without hiccups. I feel like the heat needs a bit more love on the computer integration side.

Now I only use my heat without a computer, everything works perfectly…

[Olaf_Wolkenhauer]

@cuckoomusic suggested somewhere recently that the AH does a good job at glueing things together. Can @cuckoomusic and others expand on how that works? How can the AH be used on the master bass for glueing, without having a compressor? Or, is this somehow part of the presets, respectively distortion types? I am interested in glueing on the master and rather than buying a compressor, if the AH can do that job as well, this may be a better option. It is however not clear to me how this could work.

Thanks, Olaf

[cuckoomusic]

The different distortion types, perhaps especially enhancement, already somewhat flattens out the sound. It’s destructive, but when handled gently I’m finding it helpful.
The envelope follower can then get the Heat to act as a Compressor. For instance drive it a little too high, and then let the envelope dial back the drive when volume goes high.
To compare this to a professional dedicated Compressor though, you might wanna ask around a little more.
I generally find it helpful.
Although a mastering engineer that I know, and respect, found it a bit harsh on vocals.

I’m not sure how high resolution the envelope is, and how it interpolates between values for instance. It might potentially introduce a little aliasing if it moves too digitally in steps, rather than an all analog Compressor that moves without steps. Perhaps Simon or someone could step in with some nerd facts?

[phil71]

My recent post illustrates very well the flattening of the sound.

Drum Loop through Analog Heat (audio)

A very dynamic vintage drum loop has been put through the 8 distortion circuits of the Elektron Analog Heat. The 4-bar drum loop is performed live by underground New York drummer Evan Pazner. It was made using a late 1960’s Ludwig drum kit similar to the kit used in the famous Amen break. The 4-bar loop is played 2 times for each circuit. 1st time: Drive = 100 and Dirt = 0 2nd time: Drive = 100 and Dirt = 100 The processed sounds are 100% wet. The original recording is played twice at the …

[peterklank]

Once these hit the shops, practise growling at the AH before you turn it on. Just get comfortable with its feral beauty. Approach it from the side. Don’t lock eyes with its controls. No sudden movements. But when it growls back, you know it’s on.

best few sentences on this forum

[Prints]

For me, I’ll need to rely on a professional after I’ve made all my mixing descisions, and all of my “master bus processing” choices. I’ll need the professional at “mastering” to put my levels/frequencies in check for cd/tape/radio/etc. I do not expect them to solely rely on an Elektron Analog Heat for this task, but I wouldn’t be opposed to them using one if they find something unique about it to implement during the process to achieve their goal. I wouldn’t be opposed to them using an Elysia Karacter or Culture Vulture either if that’s what they want. I ultimately choose if I want/like it in the end.

My main point is that there is a mastering process, and that the AH shouldn’t be considered not up to this task just because it isn’t an Elysia Karacter or Culture Vulture. I’m actually participating in the conversation posed by the OP.

Is the point trying to made by a couple people that the AH should not be used during the mastering process, but a unit like the Elysia Karacter can? Or is the point that no saturation should be used?

This vid seems quite appropriate for this 3 year old thread.

[disco]

Does anybody have experience in using the Heat on master bus, to add slight distortion in the mix ?

I like the Clean boost circuit for this, but the problem is it adds a lot of noise in the final result. It’s not so notable when the track is on its full elements parts, but is very noticeable in silent. If i just turn the ON button when nothing is playing, i can hear a lot of noise going on, to the point the OUT levels that before ON were quiet, now became about 5%. Is that normal ?

Another thing i noticed is, unless i put the Master Volume at more than 70%, the main level will be very low.

[JunkRunner]

Is the gain staging proper? I don’t think noise is something to be afraid of, but for mastering, I think it would usually be used with a mix of dry and wet. Just easing in a bit of harmonic content and character.

[sezare56]

Distortion without noise? Seems difficult with analog gear without noise gate for silent parts.
Btw, maybe certain envelope settings can be used as a noise gate, but I’d rather use a dedicated one, or avoid silences, make more noise!

You can also use the filter to minimise it.

I found AH very silent for an overdrive / distortion, but lacking drive for high gain settings.

[disco]

Is the gain staging proper? I don’t think noise is something to be afraid of, but for mastering, I think it would usually be used with a mix of dry and wet. Just easing in a bit of harmonic content and character.

Actually i found out that the culprit of the excessive noise floor is not AH, but the Rytm. Even when the Rytm is not playing anything, it generates quite an amount of noise. It’s not very noticeable when in a full mix, but very noticeable in a part of the song that use few elements. The noise is about -75db , measured by Ableton.

Now i’m trying ways to reduce the noise in Rytm instead of Heat…

[tsutek]

first possible culprit of noise on the rytm are always the compressor settings. check those?

[disco]

I’m not using the compressor or distortion on Rytm as i already found out that these make the noise worst. Even so, i get a constant brown noise from the Rytm

[Noisebuddy]

Do you use the main outs?

[loopdude]

Always turn down the amp decay parameter on the individual tracks. This usually helps with noise

[shroom]

Noise is a good thing, I used to add recordings of noise to my tracks when I was ITB…

Never ever stopped to think wow my AR is so noisy I must go back ITB, embrace the noise, learn to love it, it’s a machine it’s suppose to be noisy

[Daninsky]

Hello everybody!

I have a question or two for you Analog Heat users. I am thinking of buying an AH mk1 or mk2 to use for saturation, eq, filter and some extra umph with the envelope on my stereo mix bus coming out of the octatrack. And then also using it as a sound interface for recording into a DAW.

So basically as the final stage in a hardware chain to glue the mix together and give it some warmth and grit. Sure I might let someone do a final master once I have the bounced material on my computer if needed.

What are your experiences using it like this?

I want to use my DAW as little as because I don’t like working in the computer very much and also because I want my live sound to be as similar as the final product on an album, tape, spotify, and so on, as possible.

I have heard there are some problems with using it as a sound card/interface?

Cheers!

[cold_fashioned]

@Daninsky

problems with using it as a sound card/interface?

Not anymore, now that it’s class-compliant USB. With earlier revisions of overbridge, there were issues with noise and other strange things. That might also be fixed with the newest version of overbridge.

As far as a final processor, that’s how I use my Heat (well, on the master insert of my mixer, but essentially the same). If your plans are to plug the OT outs into the Heat to then bring that stereo mix into the computer world, then this would be a nice solution. The Heat is very versatile and can do much more than that, of course, but you’ll discover that as you go. I don’t know about it’s ability to “glue the mix”, but I think it makes everything sound fantastic.

[Hawk]

The true way to use the Heat is with it connected to a patch bay and normalled to whatever you will use it with most, for you on the master outs on your mixer or whatever this chain you’re referencing is, that way you can very easily patch in whatever instruments you want through it without having to re-wire a bunch of crap. Make it easy for yourself to patch other stuff into it, and that will result in you using it for more experimental stuff on other instruments.

I see a lot of “glue, master bus, mastering duties, warmth” etc talk in regards to the Heat, and sure, those things, but I don’t see that many people talking about it on keyboard and other sound sources. Strapping it to the master LR outputs of a mixer or whatever and leaving it on “Clean Boost” or “Saturation” is like hiring a Spartan to guard a coffee stand. Not that there’s anything wrong with that usage, not calling you out @cold_fashioned cus I know you get it, just saying it wants to do that AND MOOOOORE!!! It wants to be a freak!!!