I’m pretty confident that I can force out a listenable demo mix with stock plugins. Then I panned the doubles hard L/R, filtered, saturated, lo-fi’d and then we had a doubled vocal. I ended up making 2 more copies the vocal track, transposing +10 cents/ -10 cents, then manually un-aligning it with the dry vocal by 9ms and 19ms. I remembered there was a way to create a choursing effect by smearing a delay so that the crests and troughs of the sound waves smear into a chorus. The chorus/doubler tool in S1 is obnoxiously awful. Its too bad though, because to me they sound better than the reverb plugin. I was hoping I could use some guitar pedal verbs from the amp simulator plugin but like the Scuffham plugin, you can’t bypass the head and amp to just access the reverb from the guitar pedals. Then you’re free to use the saturation in parallel. Unsync the ‘time’ control and set it to 1ms with the feedback at 0% basically eliminates the delay. It isn’t any better, but it at least does something.
I did discover a saturation knob in the Analog Delay plugin. This was not a fun way to warm things up. I started with the mix down then nudged the mix until I could hear it doing something, then tuned the 2 EQ knobs to the frequency range. What I did to get around this was put the Redlight OpAmp mode with the drive completely off. This library is in real bad need of a console saturation plugin or a reel-to-reel emulator. One is the guitar amp simulator, the other is the Redlight Distortion plugin. Here’s a few of the problems I ran into and how I tried to fight through them.Īs far as I know there are only two saturation tools in this entire library. But I’m at the point where I can say I’m not real happy with the stock plugins. So a client recently asked me to start using as many stock Studio One plugins as possible so that I could commit the non-S1 plugins then send the session back to the client for editing/automation etc… I still haven’t run into any major deal killers workflow wise.
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