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Waves Abbey Road Echo Chamber Plugin

Discussion in 'General Discussion' started by kmetal, Jul 23, 2018.

  1. kmetal

    kmetal Kyle P. Gushue Distinguished Member

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    this is a pretty cool video, even if it is a promo. glad people are gonna be informed about this great technique! i hope they end up trying the technique, and not just going the pluggin route only.

     
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  2. audiokid

    audiokid Chris Staff

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    STEED

    The Beatles - A Day In The Life
     
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  3. audiokid

    audiokid Chris Staff

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    I used to use a Roland tape echo which sounded much like STEED in A Day In The Life. I loved playing my guitar through it. I suppose the Roland tape echo was STEED, a loop-back tape echo.
     
  4. kmetal

    kmetal Kyle P. Gushue Distinguished Member

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    that really is a a heck of an echo sound. so smooth and clear.
     
  5. kmetal

    kmetal Kyle P. Gushue Distinguished Member

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    thats cool man, wish i had a roland tape echo to mess with. the STEED was something i just learned about today from the vid. also a good idea is bandwidth limiting the send to the re-amp speaker. a great place to use those built in dsp eqs that so many interfaces have. one of the things i wanted to make was a guitar pedal tape delay, which ive been imagining for a couple years. guess ill have to incorporate loop-back in it. im pretty sure dan aurbach was using a tape delay on stage at the central park NY show i saw. it was huge, i think it had tubes in it, it was on top of his amp.
     
  6. audiokid

    audiokid Chris Staff

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    this was it.
     
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  7. audiokid

    audiokid Chris Staff

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  8. audiokid

    audiokid Chris Staff

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    Bad thing about those , the tape would eventually turn into mud but I loved to overdrive mine. Later on I got into digital delays and never looked back.
     
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  9. kmetal

    kmetal Kyle P. Gushue Distinguished Member

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    very cool sounding. i can imagine its the perfect unit to get the surf guitar sound. gotta love VU meters. i guess what they needed was a "b" reel so you could get more mileage out of the tape, without much fuss. it really is remarkable how les pauls innovations have changed the world of music. he probably doesn't get nearly the credit he deserves as the creator of multitrack and tape echo and of course the les paul guitar. i think the tape echo, and tape itself carries some nostalgia, and isnt necessary, but sometimes is perfect. i still cant get as good a hi gain electric guitar sound digitally, as i can on a cheap 4 track. im thinking digital amps might change this. or maybe really excellent conversion. there's a certain energy to guitar on tape. i enjoyed that tape echo, not because it was the end all of delays, but rather a certain signature sound, something where i was like 'oh thats what ive heard so many times'. the best sounding delay ive used personally is the MXR digital delay rack unit i bought off a friend for $50 and sold a a couple years ago. it took me a while to realize that delays themselves have 'a sound'. its funny you linked jeff beck, as he came to mind the other night because his bassist is/was a female, and just rock solid. and exceptional musician. i thought of that concert video id seen on Palladia when you posted the thread about the acoustic bass. i agree with Jeff Beck about volume too, ive always found theres a balance between pre amp, and power amp saturation that really lets things sing, and notes be ballsy but articulate.
     
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  10. bouldersound

    bouldersound Real guitars are for old people. Well-Known Member

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    Tal Wilkenfeld.
     
  11. Makzimia

    Makzimia The Minstrel Well-Known Member

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    We used an re201 live with our band in the early 80s. The UAD plugin for my Apollo ( which is now a galaxy echo as well) works almost identically to the real deal. One big difference, don’t have to worry about that bloody tape!. Lol.
     
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  12. audiokid

    audiokid Chris Staff

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    I checked her out, she's hot, good bassist! What track examples?

     
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  13. kmetal

    kmetal Kyle P. Gushue Distinguished Member

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    https://www.dailymotion.com/video/x4dvlqm



    this is the exact one i was referencing. "Jeff Beck Live at Ronnie Scott's", sorry about the spanish, it the only full one i could find. youtube has it buts its on a playlist which i either cant, or dont know how to share.

    seems like becks sound guy loves the 414's on OH, regardless of era. i noticed them in at least one of the videos in the Gibson link.
     
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  14. Makzimia

    Makzimia The Minstrel Well-Known Member

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    On a side note, I have taken this plugin, because at $29 it's a bargain. It's actually an amazing tool, for certain circumstances, instantly.
     
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  15. paulears

    paulears Well-Known Member

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    Yep - I agree. I had one of their other plate reverbs and this works nicely.
     
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  16. kmetal

    kmetal Kyle P. Gushue Distinguished Member

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    @$25.89 its even more of a bargain. Audiodeluxe.com, almost always has an additional discount, even for sale pluggins. it usually ranges from 10-25%. i have spent quite a bit there over the last couple years. i always check there if im interested in a pluggin. its almost always the cheapest place.

    i spring for the chamber verb cuz i like using real chambers at the studios, and my botched amazon order's refund showed up today, so it must be fate. lol
     
  17. kmetal

    kmetal Kyle P. Gushue Distinguished Member

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    im not diggin it on the vocals, but on the drums its cool to my ears. have a listen.

     
  18. Makzimia

    Makzimia The Minstrel Well-Known Member

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    @kmetal Kyle, I think it's a matter of personal taste :). I like the vocal sound, and you will find that sort of thing on a lot of older recordings. There is a general trend in modern music to make things robotic tight and up front and dryer, or auto-tuned too.

    Oh, and about cost, keep in mind, depending on the day, for me, I never pay much more than £21.00 - £22.00 for a $29.00 plugin :). And I quite often wait or ask Waves for a personal special LOL.

    Tony
     
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  19. audiokid

    audiokid Chris Staff

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    For conversation fun.... personally I don't get excited over most of the reverbs people use. I'm likely not the norm here but I pay more attention to how reverb stays true in how it doesn't shift and go all swirly during mix-down or summing, how it doesn't make a mix sound like the production is half inside a glass bottle or staircase and others are in a bathroom all separated from each other. I think those mixing concepts are dated today.

    I know that's how they used to (get reverb) and know there have been some amazing snares or effects come out of that process but to me that's because that's all they had before we had digital audio.
    The staircase or concrete is a good effect I suppose if you are going for that sound but I often think, why lol! OMG stop that... ;)

    Today I choose a reverb that fits what I'm shooting for in the live performance and then break it down into either mono or stereo Aux sends. I look at every mix with the idea of how it would sound if the entire production was all happening together but just needs depth.

    I use reverb to emulate or augment what's either missing or too much of to simply make a mix more in depth and in focus, then stick with the main reverb for the entire song where I have it on the main mix and then the same setting on the aux for mono depth. This way its all breathing together.

    I tend to like the same main reverb in stereo at the end of the mix, uncompressed but before a final 2 bus limiter to open a mix up to get that natural sound which I think glues the final mix together. This setting is practically un noticeable but its just enough to spread a mix out.
    I used to think you got that from summing amps, OTB consoles and gear gear gear doing the hybrid shuffle and then to my surprise, I discovered it wasn't the analog OTB thing at all... its was how I apply reverb at the end of a mix that opens a mix up, which is really where a Bricasti shines. But... then I discovered a $3000 Bricasti is definitely awesome but a good 2 bus plugin reverb will get you close enough too.

    To my ears, that's where you can really tell how reverb stays true and is doing what its supposed to be doing, or ... is worth its admission. If its good on the 2 bus, it good as an mono or stereo aux and you should be able to tweak it to do all those effects, good enough.

    When I hear this reverb I think, why would anyone buy it when you can emulate it with a stock reverb, good enough. I suppose its fast to setup because its done for you but why add more bloat to your DAW. There insn't anything special about this one too me . It sounds like any generic patch to me.
     
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  20. kmetal

    kmetal Kyle P. Gushue Distinguished Member

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    surely all a matter of personal preference. i tend to opt for delays alot more than reverbs. and what i like today i might hate tomm. glad your on the ball with the plug discounts, just figured id pass the word on in case anyone wasnt getting the additional discount. are you saying waves will price match, or you hagggle with them?

    i find most of the plug verbs to be pedestrian, from the most expensive to the cheapest. they're ususally not interesting sounding.

    lol, ive said the same thing to phil. not every song needs a boisterous room sound. ive always found using the real chambers more fun as an engineer, and fairly useful, even when used subtly. ive never re-amped into a chamber tho, just captured it with the mics during performance. im thinking that having a few re-amp setups around the house like in the empty concrete basement, and the bathrooms, will help add some interest to all my VSTi's especially the drums, which really are obvious samples by themselves. ill grab a couple nice snare drums over time, and layer them in to bfd as well.

    i think this is a mastering technique. i always wondered why ozone had a reverb included. i actually messed with the stock samp verb on the stereo bus not too long ago and it is an interesting effect. it can add a nice glossy outline to the mix without even being distinguishable as a reverb or effect.

    i bought it mainly cuz i was bored, and it looked cool. i found the control set to be interesting.

    with a master, slaves, and video editing machines, as well as reason 10, and akai VIP (vsti hosting), i need to spread out effects pluggins to a variety of things beyond just the main daw. the stock plugs don't necessarily work in all those cases. i think it only works from within the daw itself. the ozone advanced, 4 fabfilter, and the waves ren, H comp, ssl, tg1234, are my main mix pluggins for the daw. the others are to improve upon the otherwise cringy effects built into the vsti's. i want to setup a bunch of busses, and also i want to print the effects with the vsti into the daw. i want my daw to function as a multitrack editor, and bus style mixer.

    the other thing i find is that certain pluggins have certain function or particular setting that works better, or faster than the rest. some sound better, but im speaking functionality for instance the psp springverb, is instantly a good spring sound. way easier than fiddling around. or the D16 Toraverb 2 which has m/s settings, which simplifies things. or izotope vocal synth, just super voice modulation in the pluggin, which would take tweaking several other plugs. most times less is more, once in a while more is simpler.

    in digital ITB, tactile control just isnt there yet, so to me its about bussing and routing matrix's, and having all plugs, effects, and vsti's open, and running all the time. a bit of a tall order, hence the master slave. basically nothing should be more than 1-3 clicks away, or it wrecks the vibe.

    i definitely have crossed beyond the line of need, into the want or just cool to have as far as my software set, which is 95% complete including the office and tax software. i really think that the fab and samplitude is the bare minimum of need, and plenty powerful enough to produce a record, with ozone and a couple waves really being "all i need" for traditional recording and mixing duties. as i enter the realm of digital amp sims, and vst's i find these other things useful for sound shaping, and not over-stacking the same pluggin code.

    lol that said, i use delay far more prominently than reverb, and i havent heard a reverb pluggin yet thats like oooohhhhh. even the vienna room simulation. adobe audtition 3 still has my favoroite reverb and its stock. i may setup an inexpensive computer and connect it digitally to may main interface, just to run the adobe audition reverb.

    these days i think my modus operende from a system design standpoint, is more like a sound designer / electronic mucisian / and boradcast engnieer, rather than a traditional rock musician and engnineer.
     

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