Other ways to get that ‘analogue’ sound
As we’ve already noted, the analogue recording path is pretty complex, with plenty of points at which noise, distortion and non-linearities can be introduced. So, once you’ve got things going with some tape and desk emulations, there are still various other things you can do to add further analogue flavour.
For warmth and a good balance of harmonic distortions (see Harmonic Distortions in the Analogue Recording Chain, below), look for both valve- and transformer-based plugins. For more edgy sounds, seek out solid-state designs, and don’t overlook emulations of classic outboard gear – compressors and EQs, mainly.
As CPU power has increased, so have the ambitions of plugin designers in terms of accurately modelling all aspects of the analogue path. So, if you know that a unit has a valve amp section (the Pultec EQP-1A, say), check to see if the designer has included this in their plugin emulation of it. The other thing to bear in mind is that this process is additive, in the sense that making small changes to many tracks of audio will have a cumulative effect, so don’t go hunting for massively coloured processors when only subtle changes are called for.
Plug away
As with the tape and desk emulations covered on the previous pages, this is by no means an exhaustive list, but here are a few suggestions to get you started.
For valve sounds, Wave Arts Tube Saturator is a classic, free Mac plugin. Based on a 12AX7 valve, it models the two triodes in the 12AX7 to emulate two cathode triode amplifiers, much like the preamp stage of a tube hi-fi amp. At the lowest drive level, it’s pretty clean with just a little harmonic distortion.
Next, SPL’s Twin Tube, another classic plugin. Based on their hardware unit of the same name, this one includes separate saturation and harmonics circuits. The first creates harmonic distortion as you push it into distortion, while the latter adds harmonics at one of four specific frequencies (2, 3, 6 and 10kHz). Combining the two helps to fatten sounds and add air.
Although the name implies a level of aggressiveness, SoundToys Decapitator can also be used in subtle ways. It includes five different flavours based on five specific valve and transistor preamps. Of course, if you do want to ramp it up, all five can deliver that too.
While we’re on the subject of ramping it up, iZotope’s Trash is designed for audible distortion, but can be tamed via its waveshaper’s curve editor if you want something more subtle. Mellowmuse SATV, meanwhile, boasts four analogue options – transistor, transformer, tube and tape – each with individual drive, mix blend and grouping.
Another oldy in terms of its longevity (and, yes, looks) but a very good performer is Voxengo’s VariSaturator, which includes both valve and digital saturation, with split processing between high and low bands.
Finally, we have to mention Slate Digital again and their Virtual Buss Compressors. With extensive modelling of analogue non-linear behaviour, there’s a certain ‘black box’ nature to these plugins that you have to experience to fully appreciate.
In fact the company’s Virtual Mix Rack is one of the most elegant ways of combining consoles, outboard, effects, you name it, in one simple solution – see our walkthrough on the previous page for more on this.
For warmth and balance of harmonic distortions, seek both valve and transformer based plugins