Piracy / Crack / Hack discussion is not allowed. Provide the version of Pro Tools, the operating system, the error number, hardware involved, and what you have tried. The post title should only be a very short / concise description of the problem. If you are given given an error number, add it to the front of the post titleĭo not make sensationalized post titles like stating you need help (all posters do and it is not truly informative), urgency (it's always urgent), all caps, or excessive punctuation. Everyone is welcome, from industry veterans to bedroom engineers.īe sure to check out our wiki pages for more information regarding Pro Tools links to shortcuts, FAQs, Guides and Tutorials, Plugins and more. I feel confident “pushing” a lot of these plugins, and the EMT 140 is no exception.Subreddit Info and Rules Pro Tools Shortcuts Production & Engineering Subreddits FAQ Guides and Tutorials PlugIns r/ProTools on Discord About r/ProTools Try doing something drastic like adding 12dB somewhere between 1 kHz – 6 kHz with the plugin’s EQ engaged for any track you want to really stand out. Tip: Between the different plates, input filter and EQ settings, you’ve got a ton of options. EMT 140Īnother emulation of a classic unit, this is one of the only reverb plugins that “feels” like a piece of hardware. Tip: To retain and even enhance the bass response of program material, make sure to engage the sidechain function, and choose the “steel” transformer setting. It can be intimidating to use this one for the first time if you’re not familiar with the original hardware unit or well-versed in compression, but get past the initial learning curve and it’s one of the most versatile plugin compressors. Tip: Experiment with the Wow, Flutter and Noise features to make your VST synths sound more “drifty” and analog.
For clarity and sheen, I usually choose the ATR-102. For warmth and midrange vibe, I’ll reach for the A800. This tape emulation plugin is perhaps even more versatile than the Studer A800 given that it has a built in delay and additional tape characteristics. Experiment with the different versions in the collection before reaching for an equalizer. Tip: These compressors have their own unique tonal characteristics in addition to being adept at managing dynamic range. The fact that you get several variations makes the collection even more powerful. LA-2A Collectionĭespite having minimal controls, this emulation of the classic hardware compressor is extremely versatile. Try it on electric guitars, with a couple dB of gain (anywhere from 1 – 3 kHz) for bite without the fatiguing quality that other plugins can sometimes add. Tip: Whereas the upper midrange of most plugin equalizers can be harsh and brittle, this EQ is really pleasing in that range.
#UAD PLUGINS PRO TOOLS FULL#
Intuitive, and easy to use, but also full of character and interesting tones.
Harrison 32CĪ great Swiss Army Knife equalizer. Be mindful not to push the volume of that aux track too much. Tip: Run this in parallel on lead vocals or a vocal aux, and add a substantial amount of gain (anywhere from 1 kHz to 27 kHz) to add whatever the vocal might be missing-whether it’s bite, clarity or air. It’s super smooth and I’d describe it as “forgiving” on vocals, but it works on pretty much anything. Neve 1073ĭepth, clarity, bite, mayhem-normally I choose a specialty EQ to add one of these qualities to my audio, but the 1073 can achieve all of it and more. Tip: Send your bass in parallel to the 33609 and push the input to add excitement and vibe, while still maintaining the dynamics of the original signal. If you’re looking to “glue” multiple sources together and add instant excitement without killing your dynamic range, this is my favorite compressor. This compressor, which models the classic Neve hardware, is a regular on kick, snare, drum buss and master buss. Tip: Experiment with the “bias setting”-try bringing it down to just before the signal starts breaking up, and then push the input for instant vintage saturation and excitement. There are so many tonal options with this plugin-it’s like an EQ, compressor, saturator, signal destroyer all in one. It can also really warm up a master buss and is excellent on lead vocals and close-miked drums. It’s a mainstay on my drum buss and other sub-aux tracks. If I had to choose just one plugin from UAD, this would be it. Here’s a roundup of my ten go-to plugins as well as some mix tips for each. If you’ve seen my video tutorials, you know I tend to mix with a lot of UAD plugins.
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