Today I finally got to try something I’ve been meaning to do for a long time - Analog channel on each channel. That’s an insane way to use plug-ins like these, here are a few other.

Analog every Channel

I first heard about this approach from Colin McDowell in his column at the McDSP website but it’s actually mentioned in the manual as well. Basically you put Analog Channel AC1 (input stage emulator) on every channel. This post shows an example of this. I tried it for the first time today and the results was:

• I ended up using only two compressors, and they were very lightly applied to the bass and vocals (8 tracks of backing vocals). Instead compression was applied by pushing the input on each channels individual AC1, as well as pushing towards the tape emulator (see below).
• It sounded awful when I removed it.

Is it the way to go? Nah, honestly I think it’s a little too much. On the other hand, ‘too much’ is usually something that makes me pursue things again. While it could be done with other plug-ins than Analog Channel (Colortone perhaps) I think it would be difficult because AC1 is very easy on the CPU and TDM chips (more so than AC2) and the way you can push it is not possible in all plug-ins.

Pushing the busses

This is my preferred way of work. I learned this from Charles Dye (well not personally, but through his website and MiLaR) and I think he really nailed it with this technique. His way is applying Analog Channel AC1 on the master at the very beginning of the mix so that you mix through it. This is in opposite to applying it after most of the mix is done. Try it. If you remove it after your mix is done, the mix will fall apart. Charles says that AC1 this way influence every decision you make in the mix and he’s of course right.

What I like about this is again that you can push tracks into light saturation and compression. At times I’ve used a compressor on the master as well, but many times lately I’ve felt that AC1 and VTAPE saturator is enough compression if you push the tracks a little.

Yes, VirSyn VTAPE, my preferred tape emulator for the master. While this whole post may sound like a tribute to Analog Channel, it shouldn’t really be considered as such. You can push VTAPE, DUY DaD Tape or whatever. Just make sure you know how your favorite saturator works, i.e., if it has limiting, at what point it saturates etc., etc.

Applying saturators on the master after the mix is done is close to pointless to me.

Individual tracks

When I use the master fader approach mentioned above I still sometimes apply saturators to individual tracks. Typically DUY DaD Tape on bass and drums. When I do that I often do it instead of compression. In other words, I use DaD Tape as a dynamic tool with attitude. I think it’s great on things with a little bottom (i.e. kick and bass). If you have Massey Tape-head try that one as well. It’s great on bass.