CD Sound Master Mastering Engineer Michael Angel Angel Lofte Studio

~~www.CDSoundMaster.com~~

"Maximizing The Sound Of Your Recordings" TM

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Audio Comparisons
This page has been designed as a resource for you to hear the differences between various brands of recording hardware and software. I hope that this proves to be useful to you!

Neve 1073's

1176's

Neve 1073 Comparisons

Here, you are able to listen to the subtle, and sometimes not so subtle differences in several variations on the classic, vintage Neve 1073.

Included in this audio comparison are:

1. Velinas' BAE presets for Nebula, based upon an extremely high quality sampling of the Brent Averill 1073. The files titled "1K" represent clean versions of samples, meaning that no distortion is represented. The files titled "3K" include sampling of the preamp's distortion characteristics up to the first order even and odd harmonic. Special thanks to Velinas for creating this amazing collection of presets! Make sure to visit his site at: Nebula-Programs.com !!!

2. My Silver73 presets for Nebula, included in my first commercial library release "Retro Analog Studio Suite 1", which is based on an extremely high quality sampling of the Chameleon Labs 7602, a high quality variation on the 1073 with slightly improved dynamics and a few extra frequencies in the high shelf.

3. Line6 GearBox UK Vintage, a software emulation of the 1073 with simulated preamp distortion and multi-track tape. This is a very useful plug-in, but certain settings are very different from a true 1073 eq, so samples are sonically as close a match as possible, but not exact to the others. Ironically, the more extreme gain settings appear to be the most carefully crafted here.

4. 1073Clean, my presets for Nebula, also included in the "Retro Analog Studio Suite 1" library. This is a variation based upon the excellent filters designed for the UAD-1 licensed Neve 1073 eq powered plug-in. In keeping with the concept for my library, samples from this preset are based upon a hand-crafted analog signal chain that emulates using the 1073 as a single console channel, sent to tape, returned to it's channel, sent to bus group, and out to tape, with no variations in harmonic distortion or phase, but only in frequency plots. These offer very similar and reliable filters, with subtle variations in sound.
Drum_Loop.mp3

Bae1KHi+10.mp3

Bae1KHi-10.mp3

Bae3KHi+10.mp3

Bae3KHi-10.mp3

BAELo220+10.mp3

BAELo220-10.mp3

BAELo35+10.mp3

BAELo35-10.mp3

BAEMid3.2+10.mp3

BAEMid3.2-10.mp3

BAEMid700+10.mp3

BAEMid700-10.mp3
7602Hi+10.mp3

7602Hi-10.mp3

7602Lo220+10.mp3

7602Lo220-10.mp3

7602Lo35+10.mp3

7602Lo35-10.mp3

7602Mid_3.2+10.mp3

7602Mid_3.2-10.mp3

7602Mid_700+10.mp3

7602Mid_700-10.mp3

UAEHi_+10.mp3

UAEHi_-10.mp3

UAELo_35+10.mp3

UAELo_35-10.mp3

UAELo_220+10.mp3

UAELo_220-10.mp3

UAEMid_3.2+10.mp3

UAEMid_3.2-10.mp3

UAEMid_700+10.mp3

UAEMid_700-10.mp3

L6Hi_+10.mp3

L6Hi_-10.mp3

L6Lo_35+10.mp3

L6Lo_35-10.mp3

L6Lo_220+10.mp3

L6Lo_220-10.mp3

L6Mid_3.2+10.mp3

L6Mid_3.2-10.mp3

L6Mid_700+10.mp3

L6Mid_700-10.mp3

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1176 Comparisons

These are two "before and after" files that I created that I think may be helpful for people that are curious about the characteristics of the 1176 Compressor, and what differences there are in the current sampling technology. These two files are a drum loop that I created, followed by a setting on the UAD-1 1176 plug-in, followed by a preset that I created in Nebula based loosely on these characteristics, but with some useful differences as well. My compressor presets are available in my first commercial Nebula library release

"Retro Analog Studio Suite 1".

This is the setting on the UAD-1 that inspired the Nebula preset that follows.

1176A.mp3

This is the setting on the UAD-1 that inspired the Nebula preset that follows.

1176B.mp3

There are many popular settings on the 1176 that are more recognizable and extreme, but I believe these are two very usable examples that show the "pop" mixed with a certain softness and curve that the presets I created are lacking, while at the same time I was able to increase the amount of early attack in a very flattering way which the original design isn't supposed to do. Very subtle changes to the original's release bring the room to life in a drum recording, or can be used to enhance the broadness of the overheads in a mix. Shortening the release to where it goes just beyond what sounds natural in the original file, and increasing the response time of the attack really makes fast transients 'wack', which I think is the most useful for individual drum compression.
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