Also DSP and CPU usage displayed in iPad apps are misleading at best and completely inaccurate at worst. It shows the largest number of a sampling of time. On an exaggerated level, say the time sampling was 1 min, and the entire time it was at 5%, and for 1ms of that iOS did its own background task for something and it went to 90%, it would show you use are using 90% cpu for the entire minute.
Those levels are completely untrustworthy. The on,y thing that matters is when it starts to crackle. I’ve had AUM project showing over 100% cpu and 0 issues.
Yea for sure. The HPF does take away the bass frequency but only if you have the mix knob turned up too much. So the trick is to just bring the mix in around 30-40%. This will keep the low end intact. I also am still able to get audible effects from the filter, so I tend to work that while I print the entire mix. Adds a little extra movement to everything.
Also lets me distort a little heavier and then blend that in. So basically I am compressing and distorting the mix in parall and then blending it in without losing lows.
I really like the DBX 166A as a budget SSL-style bus comp. Slow mode, Contour in, 3:1 ratios or lower, and taking off only a few DB max
really like how it handles low end information, and since it’s an RMS comp I feel like it handles mixbus duties well, just have to keep the ratios low or else it starts to feel too grabby
also like using the peakstop limiter just to catch any stray peaks, not doing duty as a full limiter just as a final top ceiling
how fast is the fastest attack on the boum? I really like doing parallel compression but I want to be able to really slam the attack as fast as it’ll go to achieve the affect I want
I have a heat. I don’t use the heat live. Why? Its extra gear and complication. I have to lug it around with me. I spend extra time designing my scenes and sounds so that compression isn’t needed. I even had a pair of ELX Distressors and an RNC. It’s just a waste of time.
If you need only home use, just use a VST. It costs nothing and as few steps as possible. Pre-Prepare scenes for the OT and use computer VSTs to saturate your source. It’s okay if a track isnt slammed with a soundcloud limiter. It will sound more than good on club PA if you do your due diligence for sound design.
I really don’t like the way RNC sounds over my hardware mixes btw. Heat probably works best… but 95% of what I use it for is in my DAW for filters and distortions. El cheapo hw compressors are just gonna sound worse than vst.
Yea as @BassesAndPads (appropriate name ) mentions that’s probably because you’re at 100% mix - the lo cut works best with parallel compression, as then you can just shave off the first 75hz for the distortion/compression but leave it intact in the dry mix.
the lpf is also my gauge for how wet everything is. very useful in that way, and just beautiful sounding
i wanted to thank you for this advice. i have been careful to not keep the Boum fully wet most of the time, but i never really went below 50-60% out of some obsessive urge to keep less transparent in my mix since its at the end of my hardware chain. i think i always just assumed it would be useless, but setting it anywhere from 20-45% actually allows me to use tube in a really sweet kind of subtle and very musical way that i never have before. this rules. the tube circuit sounds amazing when its not overpowering the frequency spectrum and made me fall in love with this machine again
this thing sounds unreal. i still cant go much past 75hz on the lo cut, but sometimes i can do 150 and its clearly helpful in certain instances. i still like to keep my rytm and syntakt kicks pumping/booming in that range with a relatively slow attack on the compressor, but not as slow as i’ve been used to.
anyway, this has helped me re-think how i approach the Boum, and i appreciate it very much. i love this sound. thanks again
im also kind of curious if Boum users typically add any input gain because i tried for a very short period but now i leave it at 0. i guess now that m working closer to 30% wet i could bring more of that in without bringing up the noise floor too much
We should define what “cheap” means:
existing compressors on the market start at $ 20 and can go as high as $ 10k and more.
If you state your budget you may have more detailed advice on what to buy
) mentions that’s probably because you’re at 100% mix - the lo cut works best with parallel compression, as then you can just shave off the first 75hz for the distortion/compression but leave it intact in the dry mix.