Yeah that happened to me as well hah. Went all in when they started doing their rock bottom pricing, but TMT or not, I just couldn't get passed the actual channel strips. Couldn't really compare it to SSL's because those are their own thing (but do have the E/G 'curves'). But, the Waves SSLs blew theirs away, the Ev2 was even better (and models the SSL preamp too), and just to piggy back on that tiny bit of text you snuck in there, the UAD Vision (which was signed off on by API) just eats the Lindell (and Waves) API alive. The Townhouse is like the only plugin I think I still have installed from them at this point, but if you look at any of my projects in the last 5-6 years, you'll find the actual SSL bus comp on the master bus, NOT the Brainworx..

I think its kinda funny how recently Dirk resigned from Soundwide saying the whole merger did not turn out the way he thought it would.. What did he think would happen when you sell out to venture capitalists who don't give a shit about the product they're trying to simply make profit off of?

 

The Dual Mono mode on Slick EQ is basically the TMT. It also applies to the Low Frequency Lag function that can give some interesting result with basses.

when you try to copy something, the best you can get is the 2nd best version of it forever. Impossible to objectively measure and what is the metric to determine that the digital has surpassed the analog, in a case when that happened we all will be back to square one of "it doesn't sound the same like the hardware", "my mix using the real SSL desk doesn't sound like this".

I never think about how it is 1000Hz away or anything like that anymore I guess after getting lied a lot by Pultecs for years, lol. For those type of EQs, it will waste time if you want a precise outcome. Just broad stroke quick boost/cut, if it works, move on, if it doesnt adjust a bit for few secs, still doesnt work, pass. Activate the next EQ in the template. That's for mixing job of course, should be different for mastering. I only think frequency with Pro-Q3 or equivalent EQ. All these fancy snake oil EQs, im doing the boost then find freq workflow, 90% of the time in context, only solo if I have no idea what it is or I've heard some bad obvious resonances.

 

Worth noting that if anyone here got interested in TMT solely for the "3D" effect it has on audio, you can also get Sonimus' SonEQ 2 and only use the "wow" module in your master bus. If you're on Studio One, you can also combine it with MixFX for even stronger results (I use the SSL emulation MixFX on every mix and it's great).

 

I like and use TMT extensively but only for Lindell API channel strips, because I once analyzed all freq responses couple-by-couple-of-the-channels and selected the "ranges" of numbers for different instruments. I wouldnt use TMT on a plugin that I use on a BUS or mix bus. Thats because I tested the technology and realised that it would be risky, especially in modern pop, electronic, radio music. The "random TMT" could work for some acoustic music, maybe jazz or classical-like sound, but in other situation I wouldnt recomend it

note: the Lindell API has a bump at 20 Hz, sounds weird but thats true. I have read that it is 100% like the vintage api mixer modeled, but if you dont study the plugin you dont know. And thats VERY dangerous if you dont know with TMT

I use the TMT like on a hardware mixer: ex 1-2 . 7-8 . 17-18 and so on, so I always have the mono sounds on odd numbers

Example: 1 or 2 are for mono kicks, 3 or 4 are for bass/808/synthbass or similar, 5-6 and 7-8 are for aggressive synths, 9to12 for guitars and so on

I NEVER use the analog-stereo-TMT for mono sounds like main vocal channel (well I use UAD API for main vocal), main kick channel, main 808/bass channel and similar. If I decide to use the TMT on a bass sound like an 808 or synthbass or bassguitar its because I want a stereo low end, so in that case I carefully check the frequencies in the subs

TMT it's definitely a subtle effect, but certain channels has a BIG difference, so I deserve them for pads, hihats, cymbals (if I am not wrong ch 24 to 32 are the most .open.)

like someone wrote, I wouldnt put TMT randomly on a main vocal or kick or mono bass/808, there could be issues you dont notice at first hear, so test the channel number in plugin doctor and then use it on those mono sounds.

I think that a good mix is a result of MANY SMALL/subtle touches and not an easy
BOOM!!!!---put-a-widner-on-the-BUSS and its done

lets say that I use and I moderately belive in TMT lol

 

Last edited: Sep 12, 2024

People want analog-ish, but they still seem to like digital. If they knew how inaccurate analog gear is, they would go crazy.

 

It seems a lot like throwing a lot of cpu into making your plugins sound that "TMT amount" of analog.
Even if you are not going to do a print loop through any external analog hardware, someone just mentioned you could profile plugins into impulse responses. You can probably sum the entire total, or delta; and apply that across entire sections. That way it is a separate processor doing the sum difference, once.

 

Last edited: Sep 12, 2024

Maybe TMT does this already and I've missed it, but I wish there's a way to set the seed to the random generator, that way it would behave the same for all projects and hosts. That way I'd have a set mixing desk etc. that behaves the same all across my stuff, just like a real desk etc. would.

Now make it go to fully broken and fucked up, and you'd have your realistic project studio. Now that's what I'd like.

 

thats exactely what I do, as briefly explained in my post. I try to emulate an API console 32 channels+8 BUSSES+8 returns with pre, direct to tape machine and channel strips. I use Lindell API, UAD API and Sonimus A bus emulators. I also emulate the studio scenario for other outboard: I dont use 4-5 similar compressors or EQ, I assume I have 1 fairchild, 2 stereo distressors, 2 API 2500 and so on. It helps "inaccuracy" and variations after my tests.

I do it because I try to emulate the "analog sound" but mostly because thats the workflow I am used to and where I learned producing and mixing.

 

Thank you for your posts, it's always enlightening to have a peek at someone's setup & workflow.

Seeing that you have a fairly dedicated setup organized there, can you set up TMT to work exactly the same with all projects (and maybe different hosts), or are the TMT variables etc. different each go around?

Because this is what I want. I know it sound stupid (probably because it is), but I had a small Soundcraft mixer back in the day, and eventually some of the channels went wonky... one went completely berserk and overloaded at the slightest provocation, then one had weird hiss-thing going with the hi EQ etc. etc. So because of this I started working around it, but mainly with it. Say I needed some distortion... well, there's that one channel I could patch into. And so on. To have plugins like brainworxs' behave in a quirky but predictable manner like that would be awesome.

But in general I do like TMT, it forces me to work at the edge of my seat and actually listen to what's coming out, and react accordingly. And the per-voice wonkyness in bx_oberhausen is great.

 

• if we are talking about emulating an analog console in the digital domain then yes - TMT is a step forward as recreating imperfections

• if we are talking about the impact of TMT on sound then no - I don't see a significant difference

In general I like PA stuff - usefull, runs well on linux, sounds good, nice saturation, but TMT is not game changer/dealmaker.


BTW, listeners don't give a fuck about your analog gear or plugin you used in mixing process

 

Mainly yes, but I can talk only for Cubase.
As stated I carefully analyzed EVERY couple of channels for Lindell 50 series after I had set up the preamp section to MY standard settings for every preset, which should be approx
GAIN: 3,5
THD around 8
HP: disabled
EQ: enabled and ready to go but flat
COMP: disabled (it influences the sound even with 0dB GR)
EXP: disabled

I then analyzed the coupled-channels and saved as track presets in Cubase, so I can quickly recall the one I need

API 1-1 (kick channel so no TMT - no analog)
API 2-2 (kick2 channel so no TMT - no analog)
API 3-3 (bass channel so no TMT - no analog)
API 4-4 (bass2 channel so no TMT - no analog)
API 5-6
API 7-8
API 9-10

and so on. More or less the same idea you find in the Waves NLS which has the presets ready to go for all channels. So it is like having a hardware console. You can take a note on a word document at start, but after a couple of months you remember all the channels. I also have screenshots for every couple taken in Plugin Doctor, so if I forget a coupled-channel I quickly open a png file to see what kind of behavior has that channel

I understand 100% lol
A bit different than my approach but not that far, I also wanted to emulate an actual hardware mixer.

To give some WEIRD sound to a certain channel you can activate UNITY in the preamp and boost the gain and the THD, it really can make some damage if you drive the input. In case you use high level of distorion activate oversampling, it improve the sound. Anyhow to have a true effect of broken sound you need more plugins, you know.

 

True, also applies to sound sources. How-ev-er... If doing X in your own production pleases you and in the end enables you to better your end result, then the listeners might like the better result, regardless of what went into producing it.

We do this all the time, and let's not try to fool anybody, we do it ourselves. That's why we end up with a metric fuck-ton of toys and goodies, even if we don't need it.

 

I agree. In my case it takes few years, 600GB useless yet modern and fancy goodies to realized I don’t need most of them. When I cure option paralysis and gas syndrome I really started making music. My pleasure now is keep it simple but cleaver.
When I stated mixing my music, smart people on tutorials and masterclasses keep telling i need stuff X or Y. Now I know the bastards was selling lies purposely or because the were lied too.

 

That's already the case if you can't change the values by a tiny amount.

That'd be TMT 2.0 - and past due.

Ha, I always forget this option, thanks for mentioning it.

I've made some shots with two Lindell API Channels and two TDR SlickEQ GE. Sadly, for the TDR I had small band width for the mid bell on, but believe it or not, the three bands are all bells and have the same freq and gain (+6, -4, +6), auto gain and unity switched off, of course and no cut applied:

 

Last edited: Sep 15, 2024

you could also do that in any compressor that has the dual mono option, and continuous parameters values

 

Last edited: Sep 13, 2024

Oh, is this why people recommend Lindell so much? It all makes sense now

 

In fact, months ago I tested Softube's Dyna-mite and had serious panning problems because of its breakneck speed; any itsy bitsy delay between L/R would sever the signal in one of the channels.

 

just something I believe is important I've shared before about the Lindell channelstrip plugins, if anyone missed it :

http://audiosex.pro/threads/poll-be...-bx-console-amek-200.70744/page-3#post-728554

 

The most useless thing in a plugin.
I can't think of a single use for it.

 

I like it. It's a cheap and gimmicky tech, but it has an effect and i got some favorite channels for specific purposes. If you dig the presets of the plugins you can find some choices made by the pros for the number of the channel vs application. I don't think it makes the sound more analog BTW. It's too subtle to be considered a circuit bump or crosstalk. It's just a cheap solution for that issue.