# Virtual Channel Strips



## Gusfmm (Dec 10, 2012)

I'd like to hear your experiences in trying, and/or satisfaction level in using, virtual Channel Strips on your digital orchestral and hybrid productions. Something that has intrigued me for quite a while, as I have often felt some products seem to be more snake oil than real tangible useful tools. 

My core interest is in giving mixes a less digital feeling, while mixing the individual channels, not at the mastering stage. In a way, to control amount of effect depending on the given channel source and specific source characteristics.

Some products I'd be especially curious to hear about include Softube's Tube-Tech Classic Channel, Slate's VCC/VTM, Steinberg's Vintage Channel/Open Deck, Nomad's Blue Tubes suite, Ozone's Izotope/Alloy, etc. I'm not a Wave's fan, for instance, but feel free to extend the list with whatever other product you may have had good results with.


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## Ned Bouhalassa (Dec 10, 2012)

I've been using Slate's VCC for a couple of years, and I really like it. It adds some depth to the soundstage and bass to the sound, but in a subtle way. I try and put it on most channels these days, and I'm pleased with the results, as it doesn't smear the transients. As for the Waves REDD, I tried it and... Meh. :wink:


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## EastWest Lurker (Dec 10, 2012)

I use the UAD Studer A 800 on busses and the Ampex ATR with the Precision Limiter on the 2 buss. It is nice.


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## devastat (Dec 10, 2012)

Slate Digital VTM is excellent also.


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## mark812 (Dec 10, 2012)

http://www.toneboosters.com/tb-reelbus/

The best I've tried.


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## ThomasL (Dec 10, 2012)

If you mean a channelstrip as in "gate, comp, eq and hi-/lowcut" in one plugin I'm using the UAD Neve 88RS on every channel.

The project I'm working on right now I'm experimenting with Sonimus Satson into Waves NLS into UAD Neve 88RS and it sounds really good! This is more of a pop/rock type of project but I'm dying to try it out on an orchestral piece.


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## EastWest Lurker (Dec 10, 2012)

I am creating a "stem mixer for delivery" template in Logic Pro. 6 channels, I each for strings, winds, brass, rhythm, perc, and vox, each with an LA2 and Studer A800,; the strings, winds, brass and perc each send to separate instances of QL Spaces while the Rhythm and Vox send to the UA Lexicon 244; all send to a touch of EMT Plate 140 for overall gloss; a Precision Limiter ( I swap it out for a Precision Multiband when I am screwing up the mix and Ampex ATR on the 2 buss.

All I can say is that my first impression is "wow!" Now I need to decide on an EQ


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## Theseus (Dec 10, 2012)

In the box happiness :

- Waves REDD on all channels. I feel this is the best plugin out there, period. BUT, you need to gain stage it properly. Take my word if you will, or better take the word from Bob Ohlsson (Motown legend) himself : hit the plugin at fairly low levels, keep it dynamic. That way, you can achieve with this plug incredible results. Filters are as sweet as it gets, you can gain stage your audio right from it, drive it, adjust the stereo width by playing with the settings (larger than life ? It's right there).

When it comes to channel strips, this is the best in the box plugin. If you work primarily with samples well recorded, you can do 90 % of what you need with it alone.

Add to that (tastefully) Slate VTM + VCC, or Waves NLS (and PIE Compressor + HLS EQ, or H-EQ), a touch of Kush Audio Clariphonic / UBK 1, Softube Summit Channel and Tsar reverb, and it simply doesn't get any better those days to mix entirely in the box.

But Waves REDD is now my "desert island" plugin.

Ps : if you are to choose between Softube Tubetech and Summit audio channel for orchestral mixing - which I've the pleasure of being able to do - you might want to stick with the combo TLA100-EQF100. The Tubetech gets too "viby", whereas the Summit has a natural HF roll-off that suits well strings and woodwinds in the upper register, and is generally more transparent (apart from the roll-off). The Tubetech is really great on rock or urban mixes though.


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## kclements (Dec 14, 2012)

hello.

EDIT: Hmmm. I see there is a lot of info here on the thread - and I just asked a question that seems to be already answered. So I am changing my question simply to - the difference between the Kramer Tape and the REDD, both from waves.

Thanks

[strike]Im just starting to get into these channel strip plugs. I do mostly orchestral based music - all in the box. Wondering where you would advice me to start. I downloaded the Wave REDD and like it quite a bit. I don't have UA stuff, so I can't demo that. 

I see Waves has the Kramer Tape on sale this week - how does that compare to the REDD

I am trying to improve my mixes (again mostly orchestral) and add a bit of that something special. I know that it is more about improving my mixing skills than any one plugin. But, if you were just getting into this - what would be your first purchase?

Thanks
k[/strike]


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## Goran (Dec 14, 2012)

Like my Nomad Factory's Magnetic & E-Tape very much. Very useful plug-ins (when applied with measure....)


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## Theseus (Dec 15, 2012)

kclements @ Fri Dec 14 said:


> hello.
> 
> EDIT: Hmmm. I see there is a lot of info here on the thread - and I just asked a question that seems to be already answered. So I am changing my question simply to - the difference between the Kramer Tape and the REDD, both from waves.



Basically easier what they have in common : nothing 

Kramer Tape is a tape emulation. You've control of bias, flutter and wow, with 2 tape formulas. Generally speaking, this plug kills the high frequency (especially with the 7,5 ips tape formula) and adds lots of harmonic content. It's not subtle at all, but it recreates very well the feel and warmth of an authentic tape machine (at least the particular one they modeled with the help of Bob Olhsson from Motown).

I love it on strings, really smooth out LASS for example, and brings a lot of bowing detail and overall warmth. Also one of the best delays in the box (though not very controllable).

REDD is a console emulation. I would say it's much more useful than Kramer Tape to start with. You've beautiful EQ filters, and through the different modes (Stereo, Dual Mono or even an MS matrix !) you can control very precisely the space and dimensions of your tracks. It has a very distinctive 3D effect, generates also lots of harmonics. It acts like a really smooth compressor on transients (Kramer does that too, but in a much less smoother manner).

If I had to choose, I would go with REDD. As I stated somewhere else, it gets me with this single plugin 90 % of where I need to go on every track. They really nailed this plugin.


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## Gusfmm (Dec 15, 2012)

Thanks all for the feedback.

@Theseus - in your first post you mentioned possibly mixing REDD and VCC. Any especific reason to use the two emulations together?


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## Theseus (Dec 15, 2012)

Gusfmm,

Yes, VCC has "crosstalk" (the leak that happens between channels in a real console and influence the audio of each channel), REDD doesn't. REDD is really a channel strip, with the preamp flavor. VCC takes care of what happens when summing through a console.

VCC should be compared to NLS from Waves rather. NLS and REDD also work wonderfully together.


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## kclements (Dec 16, 2012)

I checked out the REDD demo and it sounds really nice. And I didn't find it too heavy a load on my Mac. But, at this point it is a little too spendy for my year end budget. I hope to plug it in sometime next year.

I've heard good things about the Sonimus Satson, which is way more suitable to my budget. Any other thoughts on this one as it relates to orchestral tracks? Is it a good, less-expensive mid-term alternative to REDD, or would I be better save the $40 and wait to get REDD later?

Thanks for all the help. 
k


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## ThomasL (Dec 16, 2012)

Spend the $40 now and get REDD later. You will probably end up using them both any way.

Satson is not a channelstrip, it's an excellent way of gainstaging all your channels so you have plenty of headroom. On top of that it has really nice hi- and lowcut filters. And then there is also some saturation. The Bus even has two flavours of crosstalk.

I've used Satson on every track since I got it and wouldn't like to be without it. Would buy it again even if it would cost triple.

And yes, it is on the subtle side but when used on every track it adds up


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## kclements (Dec 16, 2012)

ThomasL @ Sun Dec 16 said:


> I've used Satson on every track since I got it and wouldn't like to be without it. Would buy it again even if it would cost triple.
> 
> And yes, it is on the subtle side but when used on every track it adds up



I am guessing you use it in your orchestral stuff and it works well there too? I only ask because your post above says you were working on a rock track. 

Also, how does it compare to the Steven Slate RC-Tube? For $50 you get the RC Tube including iLok. Not necessarily a fan of iLok, but it does open some other possibilities, like upgradeing to the other Steve Slate products.

At this point, I'm leaning toward the slate rc-tube. Seems like a good way to get an ilok and upgrade paths. 
Thanks
K


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## david robinson (Dec 16, 2012)

waves NLS. j.


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## ThomasL (Dec 17, 2012)

kclements @ 2012-12-16 said:


> I am guessing you use it in your orchestral stuff and it works well there too? I only ask because your post above says you were working on a rock track.


Yes, I've used the Satson -> UAD 88RS combo on orchestral stuff as well just got Waves NLS and haven't come around to try it on orchestral yet.



kclements @ 2012-12-16 said:


> Also, how does it compare to the Steven Slate RC-Tube? For $50 you get the RC Tube including iLok. Not necessarily a fan of iLok, but it does open some other possibilities, like upgradeing to the other Steve Slate products.


I have no idea how VCC sounds, but others seems to like it. From what I've heard the RC-Tube is not on the subtle side.

I use "my" chain the following way:
Satson = gainstaging, hicut/lowcut (and on drums and bass "extra Fat")
NLS = color (9 times out of 10 in the "Neve" mode)
88RS = EQ, compressor, gate/expander (and sometimes additional hicut/lowcut)


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## kclements (Dec 17, 2012)

thanks Thomas - 

So many choices, I don't know what to do. Add to the fact that I can't demo either the RC-Tube or the Statson. It seems you can't go wrong with either direction - just a matter of where to head first. 

Thanks for your thoughts. 

k


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## kclements (Dec 17, 2012)

I ended up buying the Satson. It is very subtle, but I think it will work really well once I get used to dialing in the settings. GOing to work with it today on a new-age kind of track and see what happens. 

One thing I notice - do I have to turn on all the channels separately? I thought they would be locked so turning one channel on would turn them all on. If I have them on 20 or so channels, it will be a hassle to turn them off and on for comparing. I guess once I set up my template I'll just leave them on all the time? Is there any reason you would want some but not all the channels on? I can understand the Fat feature.

thanks again - 
k


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## EastWest Lurker (Dec 17, 2012)

EastWest Lurker @ Mon Dec 10 said:


> I am creating a "stem mixer for delivery" template in Logic Pro. 6 channels, I each for strings, winds, brass, rhythm, perc, and vox, each with an LA2 and Studer A800,; the strings, winds, brass and perc each send to separate instances of QL Spaces while the Rhythm and Vox send to the UA Lexicon 244; all send to a touch of EMT Plate 140 for overall gloss; a Precision Limiter ( I swap it out for a Precision Multiband when I am screwing up the mix and Ampex ATR on the 2 buss.
> 
> All I can say is that my first impression is "wow!" Now I need to decide on an EQ



OK, I swapped out the LA2a for the Neve 88 RS which gives me an EQ and a gate and I am loving this.


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## kclements (Dec 17, 2012)

Would really like to get into the UAD stuff. Just don't have the budget for it right now. Hoping that next year when the new MacPros come out, maybe I will be able to swing for a new computer and add the UAD at that point. 

cheers
k


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## kclements (Dec 17, 2012)

Setting up my template - I have a question (one of many more to come I'm sure)

Orchestral Template - LASS divided by Section, each one has their own channel (V1, V2, VA, CL, BS), 4 channels of Woodwinds, then 4 channels of Brass... all the way through the orchestra.

So, I put the Statson Channel strip on every channel in the arrangement, and put the Buss on the Stereo buss/out - Got that.

I also have sub-busses for Strings, WWs, Brass, Rhythm, Percussion. Do I also put the Channel (or bus) strip on those as well? I'm thinking yes, but want to be sure. Also, pretty sure I put the Channel strip on the returns (for reverb) as well, yes?

Thanks guys - 

k


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## Wes Antczak (Dec 17, 2012)

kclements @ Mon Dec 17 said:


> So, I put the Statson Channel strip on every channel in the arrangement, and put the Buss on the Stereo buss/out - Got that.
> 
> I also have sub-busses for Strings, WWs, Brass, Rhythm, Percussion. Do I also put the Channel (or bus) strip on those as well? I'm thinking yes, but want to be sure. Also, pretty sure I put the Channel strip on the returns (for reverb) as well, yes?
> 
> ...



Interesting question, and I would be curious to hear what others are thinking. Because IMO, I think having it on Channel, Group and Buss might be too much? My gut feeling is to put it on either the Channel or the Group but not both and I believe that is how I have used it in the past. Not sure right now what Sonimus recommends.


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## kclements (Dec 17, 2012)

You may be right. I seem to recall reading somewhere to put it on all the channels or just on the groups - but best if you can do all the channels. But still putting it on the fx returns. 

I will adjust my template accordingly, unless someone wants to chime in.

Thanks
k


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## ThomasL (Dec 17, 2012)

I use the bus on groups as well (and then not using the channel) but I turn of the crosstalk (dual mono), if thats on on the groups and on the master it gets a bit mushy, but it could be me of course 

If you want to have some control over your levels then by all means put a channel before the bus but turn it off. The VU and the filter works but not the saturation.

Also, on brass and drum groups try the FAT mode.


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## Gusfmm (Mar 19, 2013)

Just a follow-up to this thread.

Since REDD is currently on sale, I thought in checking it out, so started to research some very informative YouTube review videos. I've got to say I found it very colored and at times insanely weird. There is a review showing the frequency curves for the different options and I felt this would be like riding a wild horse. It looked to me more like an FX than anything else. Not that I wanted a very transparent strip, on the contrary. But this looked a bit on the extreme to me. 

I recently got the full Nomad pack at a very unexpensive cost, so decided to give it a try. Still in the process of trying out the various plugs. But it feels that these Nomad and the Softube Grand and Tube channels will be plenty of colors to experiment with. VCC may be the only other attractive plug to consider next.


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## ceemusic (Mar 19, 2013)

The REDD is emulating the channel + EQ & isn't a summing plugin. VCC , NLS emulates the channel & console characteristics & sums.
Using summing instances on additional busses is solely up to the user but one instance of it needs to be on the master buss.


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## bryla (Mar 20, 2013)

Just to ask for input:

Do any of you have experience with SSL's own Channel plug-in? It's now native.
Alloy also?


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## Dan Mott (Mar 20, 2013)

Man. That toneboosters one in really awesome.


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