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Fabfilter saturn as channel strip update#
Fabfilter saturn as channel strip pro#
Fabfilter saturn as channel strip software#

The compression sets in before the meter ever moves, so it often will hardly be moving at all. There will then be a compressor, which at the moment is usually El Ray, the RCA compressor Acustica developed with Greg Wells - slowest attack, fastest release. That high mid will sometimes come from White2, a custom Pultec Clone developed by White Mastering.

I will normally be looking for some lows and highs in those, and then a high mid lift. Which one depends on the source material, but it's typically going to be either Pink3, the API, always in the 550 mode, or Magenta3, the Massive Passive.

Fabfilter saturn as channel strip software#

I generally view hardware and software as providing something distinct from one another, but with the Acustica software I find I can achieve a sonic result that I would normally associate with hardware. My mix bus is predominantly Acustica Audio stuff.

Insert 1 is a Dramastic Audio Obsidian Compressor.

The Maselec has six insert points of which four are used so far: The three busses are summed by a Solid State Logic X-Desk and sent to a Maselec MTC Transfer Console.

Bus 2 has a pair of Cartec EQP-1A's and a Clariphonic EQ Rack.

These three stereo busses are via Neve 1066 channels which are fed from Lavry Blue A/D converters. I use three mix busses which are then summed to stereo. Thanks to Smart Research and their ‘High Pass Filter Cable’ I am able to engage the side-chain resulting in smoother compression, allowing the bottom end through without hitting the compressor too hard.

Fabfilter saturn as channel strip update#

I was particularly intrigued when UAD released their update to the SSL G Series compressor, though I still found in a head to head comparison the G384 still came out as winner, with more of a deeper 3D character along with a feel of extra weight in the lows. I’ve spent time A/B’ing the G384 against some of the plug-in simulations. Having become very accustomed to the snap and punch it can bring to a mix following much time spent mixing on SSL E, G & K consoles it was an essential additional to my outboard when moving to a hybrid and summing based work-flow. On my mix bus currently is one of my all-time favourite compressors, the SSL G384 ‘Greyface’. It seems like a lot but each of the boxes is doing a small amount of something important!

Fabfilter saturn as channel strip pro#

Occasionally I'll do multiple mix busses in Pro Tools if I feel I need to compress the bottom end in a slightly different way and blend it, but for the most part the analogue is 90% of it. That is all printed back into Pro Tools via an auxiliary that has a FabFilter ProMB on it which just gives it a bit of a modern thing.

Finally that goes into the Roger Mayer 456HD which does what 1/2" tape used to do for me - a beautiful bloom in the bottom with the high frequency limiting that made tape so lovely! Afterwards that goes into a Thermionic (yes, again!) Culture Vulture just tickling it a bit and adding a little saturation and volume. That goes into the Thermionic Culture Swift EQ, which is hands down the best mix EQ I've ever heard and does something very special.

The output of that goes to a Dramastic Obsidian compressor which is like a SSL Quad but with the bottom end of a 33609 and is amazing! I sum all my drum parallels in my Thermionic Culture Fat Bustard which comes back into Pro Tools via a Roger Mayer 456HD where everything is summed in pairs through my Dangerous 2 Bus. My mix bus is mostly analogue, as I still think there's an indefinable mojo to a proper analogue mix bus. This month we ask a group of producers, engineers and mixers to reveal their current mix bus processing.