McDSP Analog Channel HD: The Complete Analog Experience
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Descrizione
Analog Channel gives the user complete control of analog gain staging (AC1), and analog tape and tape machines (AC2).
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.
Pure digital tracks can suffer from harsh digital clipping. AC1 acts as a 'digital pre-amp' allowing even excessive amounts of gain without digital distortion. A drive control determines where the audio 'sits' in the saturation/compression region, and even the attack and release times of the distortion character are adjustable. And AC1 is the most efficient McDSP plug-In ever - up to 24 mono channels or 16 stereo channels on a single MIX dsp chip. Place it across the entire mix to create a custom analog console.
The Analog Channel Emulator AC1 plug-In is an analog amplifier, or analog channel. Instead of allowing the user to drive signal levels into digital clipping at 0 dB, the AC1 plug-In provides gentle, continuous soft-limiting/compression (or saturation pending the attack/release times), at a signal level selected by the user. AC1 can be used as a fail-safe for preventing unwanted clipping, or as a creative tool to smooth/warm-up digital tracks and provide otherwise unavailable analog character to a digital system. Even the sound of large analog mixing consoles can be closely matched using the AC1 plug-In.
AC2
The Analog Channel Emulator AC2 plug-In is an emulator of the most popular analog tape machines (and tape mediums) known to the professional audio recording industry. Playback systems from Studer, Otari, MCI, Ampex, Sony, and Tascam are available in a single 'reproducer' (*). Modern and vintage tape formulations, IEC standards, and tape saturation release (not found on any other 'reproducer') round out the control section of the world's most flexible tape playback/recorder.
Standard tape machine parameters such as bias, playback speed, and IEC1/2 equalization are provided. Control well beyond the limits of the 'reel-world' devices includes adjustable low frequency roll off and head bump - independent of playback speed. You can select from several playback head types, and even control the rate at which tape saturation is dis-engaged. And instead of frequency sweeps and test tones, the playback head and tape saturation responses are displayed in realtime - updated with every control change.
Tape Formulations
In the world of tape, not only does the tape machine influence how the audio is heard, the tape medium itself is also a sonic factor. A great number of tape formulations have been created since the tape machine was first developed. The AC2 plug-In has consolidated them all into two generally accepted formulation categories:
- Modern: current manufacturing technologies create a tape with a much greater dynamic range than earlier formulations. These tapes have a large linear region, and hence have a smaller non-linear (saturation) 'character'. This makes for recordings as true as possible to the original material.
- Vintage: older tape mediums tend to have less dynamic range, and suffer from greater distortion/saturation. These tapes, however, have 'character' that newer ones do not, and have been used with great success in recording audio.
A conventional tape machine (recorder or reproducer) requires a great deal of maintenance, to insure the unit performs consistently. This requirement is complicated by the subjective criteria of each user - the 'optimal' setup may differ from project to project.
Fortunately in the digital domain, the 'good' things about tape machines and the tape medium can be modeled, and the models can perform consistently over time. Additionally, the 'optimal' setup is only a few control changes away (instead of a tedious calibration session).
*All Trademarks are property of their respective owners. Studer™, Otari™, MCI™, Ampex™, and Tascam™ are all trademarks of their respective companies. These companies are not affiliated in any way with McDSP, nor do they endorse the Analog Channel plug-In. The trademarks of these companies are used solely for the purpose of describing the sounds produced by the McDSP Analog Channel plug-In.
Feature Comparison
Feature | Analog Channel LE 3.0 | Analog Channel 3.0 |
AC1
Analog Channel Emulation - "Class A" gain stage |  |  Mono & Stereo |
AC2
Analog Tape Emulation | Mono & Stereo
Limted featured set | Mono & Stereo |
ROLL OFF | Fixed at 65 Hz | 20-100Hz |
Playback Head Type: |
USA-A (Ampex MM 1200*) | | |
USA-M (MCI JH-24*) | | |
Swiss (Studer A80 mkII*) | | |
Japan-O (Otari MX-80*) | | |
Japan-S (Sony APR-5000*) | | |
Japan-T (Tascam ATR60*) | | |
BUMP | Fixed at 50% | 0 -100% |
BIAS | Fixed at + 4.0 dB | -12 to +12 dB |
RELEASE | Fixed at 500 msec | 10 msec - 1.0 sec |
VA | Analog Meter Only | Toggles Meter from Analog to Digital |
PLAYBACK SPEED | Fixed at 15 ips | 7.5, 15 or 30 ips (inches per second) |
IEC EQUALIZATION | Fixed on IEC2 (US) | IEC1 or IEC2 |
TAPE FORMATIONS | Fixed on Vintage | Vintage or Modern |
FORMAT |
RTAS & Audiosuite | | |
TDM | | |
Macintosh OS X.4 or higher | | |
Windows XP | | |
Available in Bundle
| | Classic Pack & Emerald Pack |
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Scheda Tecnica
Analog Channel gives the user complete control of analog gain staging, and analog tape and tape machines.
Analog Channel is 2 plug-ins:
- Analog Channel Emulation (AC1)
- Analog Tape Emulation (AC2)
Both in mono and stereo versions.
Compatibility
Operating System
Analog Channel is compatible with both Mac OS 10.4.x and Windows XP.
Configurations
Analog Channel is available in TDM, RTAS, and AudioSuite configurations.
Applications
Pro Tools™ 7.x or higher is required for TDM, LE, and M-Powered systems. Additionally, a Third Party software application that supports the Digidesign TDM, RTAS, or AudioSuite plug-in Standard may be supported. See http://www.digidesign.com/developers/plugin_info/ for more information.
| Audio Suite | |
| RTAS | |
| HD | |
| HD|Accel | |
| iLok | |
| Max Sample Rate | 192k |
Full Product Compatibility Chart
Performance
AC1 - Up to 56 mono (or 34 stereo) channels on a single HD Accel dsp at 48kHz. Up to 28 mono (or 17 stereo) channels on a single HD dsp at 48kHz.
AC2 - Up to 18 mono (or 8 stereo) channels on a single HD Accel dsp at 48kHz. Up to 9 mono (or 4 stereo) channels on a single HD dsp at 48kHz.
DSP Usage grid
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).
