I have a bunch of hardware synths and drummachines that I track into my DAW.
Currently I’m just tracking dry directly into a RME UFX III extended with Ferrofish A32 / Pulse16.
I’m contemplating investing in a small hardware chain to track mono / stereo signals to add a bit of coloring, sculpting and presence. I’m looking for something subtle to medium that I basically could use on everything I’m recording giving it a specific signature. It’s ok if it can also go “crazy” but I’m happy to do crazy with existing tools bot ITB/OTB.
It would also be used to process existing samples / recordings to give them a certain stamp.
Use on busses is not the main focus since I’m mainly working with a separate mix engineer and don’t want to over-process / commit on that part before going in to the mixing stages.
Current potentially relevant gear
Lunchbox with 2x Cranborne Camden pres, HRK 552, Elysia Nvelope
Analog Heat mk2
OTO Boum
Tegeler Magnetismus 2
Gear I have been considering
Empirical Labs UBK Fatso
Overstayer Modular Channel
Overstayer MAS
Overstayer Saturator NT 02A
LTL Silver Bullet mk2
Empirical Labs Distressor
Kush Audio Tweaker
Would prefer max 2 devices in the chain - open to doing it in 500 format if makes sense. Budget max 4k - fine with used stuff.
Any strong suggestions on approach - or should I start by going all in on trying to do it with the AH / Boum combo - anyone with good experience tracking through these?
I have a silver bullet mk 2 and use it for the purposes you describe. I have the Fairi-Mu colour module installed and also have a Boum that I generally leave on the inserts of the silver bullet and can dial in as needed. This setup gives quite a bit of flexibility in terms of range of effect on the original source and in general make pretty much anything sound better.
I am not an experienced outboard head though and have no experience of the other devices you mention. I’m very happy with this setup though, and feel no desire to change it anytime soon.
I guess I have been a bit wary since seeing many second hand. Could of course just be that many more have been sold since the SSL name. Also I haven’t been able to really find any examples of it being used for tracking / individual synth tracks.
In my limited experience, “subtle” is not a word I would use to describe the Boum. I know people use it for mastering live shows, so it can do subtle. But I feel that the range over which you have control of it, whilst remaining subtle, is very narrow: you’re only using a 10th of the arc of two controls and outside that you’re no longer being subtle. If you want to get a lot of variety out of this chain, my hunch is that you’ll get more use out of different gear.
(happy to be schooled on this 'cos I have a Boum and could do with learning it better )
Thanks also looking a bit at the Tegeler VTRC - even though only mono. Would be interesting for bass synth etc - and there is a good priced used one locally.
On the 500 side it seem almost impossible to add 2x EQ and 2x Comp of a decent quality for less than 1500eur closer to 2500 if looking at higher quality stuff
Elysia Xpressor
Elysia Xfilter
Zahl EQ1
^these 3 have been good for me. Used for many years, no issues. Elysia knobs require some de-oxit after about 8 years of regular use. All good now
the zahl and xfilter are obviously more transparent EQ’s but having something to cut out stuff while tracking to clear up mud is extremely useful.
for preamp look at Elysia Skulpter. A pre-amp specfically designed for line level stuff/synths etc built in one knob comp. I would get 8 of these if i had some money to burn lol.
For tube coloration hmm would look at Looptrotter stuff, fairly priced and a bit of a secret tool for many techno producers. Satrate is a great thing for tracking synths
i have a LTL voidcorp mk2 and it’s very good, over engineeered and future proof but IMO its a bit too expensive and would rather spend on dedicated comp/eq/pre in 500 series
It’s hard to go past the Modular Channel imo. Relative to the other Overstayer items, it’s a bit more $ wise but a lot more flexibility wise.
It is primarily designed as a channel, lots of really flexible options. I think its filter and eq are limited relative to dedicated equivalents, but still plenty for sculpting and shaping. It is just a very nice unit, particularly if you’re happy to dial things in by ear. It’s precise in that it is well calibrated, but it does not offer precision in terms of specific frequencies, attack/release time, ratios etc on the knobs.
The downside of the overstayer is it’s fairly complex, theres a lot of moving parts. I have the DM/mic pre version and the input routing is confusing. You figure it out with a bit use though.
I dont think you could go wrong with any of the other non overstayer stuff on your list to be honest, maybe see what u can get a good deal on. Or try the software plugin versions to see what you like for workflow.
Thanks! Do you ever use the mic-pre on the MC? Since I see some also for sale without the pre - do you feel you get anything on synths. / drummachines to DI them and run through the pre - or do you just go line in?
I haven’t used the mic-pres yet but it something I do want to try out at some stage. On the DS (non-mic) theres still pres for the instrument inputs, and you can route the line in to them and use their gain controls which is pre the input fader control. So far its just been line ins for me, i get enough drive and saturation out of the rest of the chain which is what ive mostly been looking for, it can definitely do subtle too.
for 4k, you can get some really, really amazing kit. i love analog heat (mk1), got mine for $350 and it can do the subtle/medium warming thing like a champ. i track through it all day long and ive never been happier with my sound
for these purposes (and some variety), ive been looking at the thermionic culture vulture, overstayer fet (solid used prices even though discontinued), api 529 has some amazing box tone for 500 format, singular audio tubedrv, wes audio rhea vari-mu/prometheus pultec, bereich03 density stereo would be my top choices
i’ve even seen hendyamps michelangelos go for around $2100, which i’ve heard from several producers/mastering engineers is the absolute king of box tone and tube distortion/warming. that and a designs hammer2 tube eq ($1500 used) seem ace, and i’ve heard from many that tube eqs are perfect for what you’re looking for. hth
michelangelo is a beast, i wanna get an XL at somepoint in a custom color/front plate i need to chill on buying outboard til i fully appreciate all the stuff i have. Fwiw i spent like a decade with just xpressor and xfilter and it was so good. And i concur about the Analog Heat. Don’t let that one slip you by… it is definitely something that adds alot of dimension with very little effort (and money)
I had a play with this on the weekend, sending a signal via line 2 to the mic pres with a 303 (avalon)
I have decent monitoring and room setup and tbh i could barely notice a diff, even with the pre gain at max. I’ve never really been a golden ears type though.
I even did a null test and there was a bit of thwack on the transient then some differences under -60dB.
From my understanding of the machine and its config, sending line 2 to the mic pres is really just adding in the transformer stage that comes post the actual physical mic inputs.
I don’t really know how mic pres work though, could I like send a line level synth out into the physical mic inputs with the 20db pad? Do you think it would change much re tone or color?
I also recorded the synth to my daw then separately tried the L1/L2 inputs, so i had to watch my output levels into the unit to avoid clipping the d/a on the way out.
Happy to do more tests and post the audio if anyone has suggestions how to test consistently.
To me it’s a super marginal difference, especially relative to what the rest of the unit or something like Saturn can do.
Thanks for this - I ended up getting the one without mic pres becuase I found it in stock and in the OG gray color (even though legibility is worse I prefer it to the black). I feel the option in the LI/DS to feed the preamp is enough - can give abit of crunch overdrieing the gain there.
Yeah nice. It really is quite hard to see the labels except in full light, but im tired of everything being black. I’d be interested to hear how u find working with it, I really like mine, I think I just prefer working with one fixed thing rather than an ad-hoc chain of plugins every time.
Consider running everything through a Yamaha MT400 4-track tape machine. The preamps sound awesome. With a 4-track you could also bounce-to-tape if you are feeling extra
)
i need to chill on buying outboard til i fully appreciate all the stuff i have. Fwiw i spent like a decade with just xpressor and xfilter and it was so good. And i concur about the Analog Heat. Don’t let that one slip you by… it is definitely something that adds alot of dimension with very little effort (and money)