Analog Channel gives the user complete control of analog gain staging, and analog tape and tape machines.
Both in mono and stereo versions.
Analog Channel Usage Tips
The McDSP Analog Channel plug-In was designed to emulate the sounds of analog mixing consoles (busses), tape machines, and tape media. The notion that a purely digital production can sound like an analog one is great for ProTools users needing to satisfy the myriad of client needs. In this issue we'll look at how to use Analog Channel to achieve these results, as well as other applications.
AC1
Analog Channel's AC1 is a class A gain stage - the premium amplification design in the analog world for audio production. AC1 gives control over many parameters previously unavailable to the common user. This flexibility allows for a number of ways to improve a mix.
Class A Glue
Many digital audio workstation users have noticed how their mix inside the digital environment can be altered significantly when bussed through an analog console. The differences are in part due to the amplification stages in these consoles. Where the digital system reproduces its dynamic range in a linear fashion (with the awful digital clip at the top of its range), the analog circuit has a built-in limiting action for high signal levels. This allows signal peaks to hang on slightly longer as they become slightly compressed. This 'glue' action can affect the listener's perception of the music, particularly in the percussive elements. The stereo field can even become different as signals panned from center are 'glued' during high peaks. In the digital mixer this effect does not exist.
Using AC1 as a multi-mono plug-In on the stereo buss, try out the console 1, 2, 3 presets that come with the plug-In. The differences can be extremely subtle, and will only occur during signal peaking. But note how the stereo field and overall feel of the music can change with the plug-In engaged.
Digital Clip Removal
The AC1 plug-In can also correct the occasional digital clip in recorded tracks. By selecting the fastest attack time (to insure each clip is captured), the AC1 plug-In can smooth out the digital clipping and make the event appear to more like distortion on an analog mixing buss.
AC2
Analog Channel's AC2 comes with a variety of playback heads to realize different 'tape experiences'. Although each playback head's use does not need to be restricted to certain applications, there are some combinations of settings and source material AC2 is particularly well suited.
Drums
Two great uses of AC2 on drums are the elimination of rumble at extremely low frequencies, and the separation of the bass and snare drums sounds. The playback head system in AC2 can address these sonic issues.
Setup a drum sub mix, insert the AC2 plug-In on the master fader of the sub mix. Starting with the factory default preset settings, increase the Bump control to its maximum setting. This will give roughly 6 dB of gain at the frequency value indicated by the Freq control. Move the Freq control around until the sweet spot (region with the most signal content) of the bass drum. Note how alternating between the different playback head types affects the tone of the bass and snare drums. The 'USA-A' and 'USA-M' playback heads also can do a good job of separating the bass and snare drums. The subtle gain reduction between the main bump and secondary bump of the playback head response helps isolate each sound from the other. Furthermore, the playback head response will eliminate low frequency content below the bass drum. This is a necessity in improving the low end of any drum mix (or mix in general!). The punch of the bass and snare is preserved while low frequencies below the signal content of the drum kit itself are removed.
Guitar
The AC2 Plug-In can further the pursuits of THE guitar tone with the playback head section. Insert the AC2 Plug-In on a guitar track (distorted or clean). Starting with the factory default setting, select the 'USA-M' playback head. Using a Freq control value of 100 Hz and a Bump of 100 (6 dB), a subjectively pleasing EQ curve is setup. Over-biasing at 15 ips (even 7.5 ips) will give a tone closer to that of many guitar amplifiers and speakers. Use a Release control time of at least 1.0 seconds to avoid any pumping effects (unless desired).
