Most of the times your DAW's native EQ and compressors will work incredibly well!

(If a programing team can code a freaking DAW, do you think they can't code plugins??? Some people think so... lol)

Anyway, there's a gigantic amount of placebo effect in the plugin industry and a lot of expensive plugins are pretty much the same as your DAW's native tools under the hood, with a vintage realistic UI copying some classic hardware design and added saturation.

In fact, the only useful tool that most DAWs lack is a good saturation plugin. Grab a good, versatile one like FabFilter's Saturn and you're good to go.

That's pretty much it. 99,9% of all plugins are just standard EQ+Compression+Saturation algorithms compiled in a single package, in different dosages...and a cool UI, of course.

It's one of the most "snake oily" markets of all times...But like they say...Whatever.

And don't be fooled by reviews, because people always will:

-Say that new releases sound better.

-Say that expensive (boutique????) plugins sound better.

-Say that uncracked plugins sound better (specially those with hardware based protection).

-Defend their plugin acquisitions with their own lives (if needed).

 

Last edited: Mar 15, 2017

Another one of those lists, huh?

A couple of weeks ago I started compiling a little cheat sheet of various analog modeled compressor including Types, Models, Plugin Manufacturers, Attack & Release Times, Ratios and possible uses. I did it for me to try different things some times. I could share it if someone is interested and maybe could expand it. Because I am far from knowing anything.

 

The question is also is it really a 1150 bucks difference to a, say, SlickEQ? Or a 1100 bucks difference to Pro-Q or EQuality? I don't think so.

Btw. Algorithmix EQs are very old. Like 15 years or more. I think any well developed EQ plugin these days can sound the same if not better than those. Same goes for older Waves plugins. All earning a living from the old, old fame.

Speaking of Weiss hardware, that famous and really expensive Weiss hardware SRC is being trumped by freeware R8Brain and Open Source SoX these days. Weiss SRC produces aliasing almost like older Cubase or Wavelab. Steinberg used to have absolutely terrible SRC, but they made it better these days.

But hey, when it costs a lot it must be good, right? Wrong. This rule only applies to hardware to a certain extent.

 

Last edited: Mar 15, 2017

For $1000 it had better boost high frequencies sweetly without changing the "sound" of the instrument as well as perform sexual favors at my bidding, and in addition, squeeze me fresh squeezed orange juice and having it on the table when I rise in the morning. I know I ask a lot.

 

looks like their interface designer is also their 'webmaster'.. looks like it was made in netscape about 15 years ago...
they must have customer.. mustn't they?

 

Yeah please share it. tnx

 

geez sometimes in all this bashing you guys seem to forget
only 15 years ago everybody would have thought you actually came straight from enterprise
wiith anny of the current smartphones.

with algorythmix stuff. when it came out you could actually get away with not buying a weiseq
and yes it was better than the daw developers.
but it also wasnt for the homestudio. like nuendo or sequoia, you can use cubase and sam rspectevly
and save 1-2k

i think before ddmf there wasnt even linearphase in vst eq plugs. or maybe there was but not at that price
i remember needing min. 4sharcs to run one instance of spl transient designer

back then not everything was thought of or even feasible.

still is online btw
http://www.algorithmix.com/home/index_products5.htm

 

Okay, here it is, my "Analog Modeled Compressor/Limiter Cheat Sheet"

Feel free to comment on data or any models to add or other uses/tipps and tricks and whatever and I will keep updating it.

http://www3.zippyshare.com/v/qqY52XKV/file.html

EDIT:

And here is the same for analog modeled EQs:

http://www47.zippyshare.com/v/4njI7eBi/file.html

 

Last edited: Mar 21, 2017

i only use compression and eq so sparingly and so little, the reason is you can to capture the source just right with a great mic and then build a harmonic foundation with harmonics and overtones in order to get the transients the same width and timber throughout the frequency response, but my most commonly used EQ is fabfilter pro q 2

 

thank you!!

 

I would love to use less compression when I record vocals. I usually don't when recording most everything else. The reason that I do with voice is because the microphone that I use is one (Gefell umt70s) that I need to get up pretty close to in order for it to have some weight, and much of the time the songs that I write and the style of delivery can be quite dynamic. If during bolder passages I sing away from the capsule, the sweet, nice harmonics that I can play with by pushing the FET of the mic in collaboration with pushing in the input transformers of the mic preamps that I use (Warm Tonebeast or Daking) change up and the continuity between line to line is incongruous. I can stay closer and do better my thing with a compressor in front of the AD. One day I will buy a Chandler Redd Microphone and a TG2 and live out the rest of my days in perfect harmony with my dreams, stepping back a couple of feet and killing it no matter my dynamic moment.

 

I like compressors for the color they add, especially the one's which add harmonics as they compress. Just a light touch for color. I don't tend to "smash" with them.
They've been useful in helping to create a sense of depth as well, as the ear hears transients differently depending on the distance. That's what I've been working on in my mixes lately.

@5teezo, That's a really great chart! Very useful. I had been compiling one myself, but yours is better laid out.

 

Yes this is great I always wanted these whole maps of available plugins.

Does something similar exist for other type of vst effects ?

please share your sheet so we can make a bigger sheet

 

STRAIGHTFORWARD FABFILER is the best

 

Thanks for the feedback. Just add any other compressor models or links to plugins to the comments and I incorporate it into the sheet. I wil probably do one with Analog Modeled EQs and channelstrips next. Still thinking about what makes sense. It's all about if it's useful or not.Something one would print and hang on the wall for quick references.

I have one for Scales and chords too but that's another topic.

 

Here is two from SKnote...STA-LIMIT, a tube compressor, and another tube, GTS-39 which is a take on the Gates Sa39. There is also Disto, a Distressor mimic.

 

I agree that it is sort of insane to pay 1200 for an eq plugin, unless you got money to burn. Where i beg to differ is older software.
I have a friend, who uses Cubase VST 3.5 till this day. He uses it to mainly program midi (has a lot of external midi gear), record a few audio tracks like vocals and gtr and mixes on an even older large 32ch Soundcraft deck. Trust me his mixes are close to excellent. My point is, gear as long as it does what is supposed to do, with experience it becomes sort of irrelevant. The important thing is the person using the gear and how he does it and not the gear itself.
I 've mixed/produced almost 15 albums and about 20 singles using -among other gear, both hardware and software- Waves plugins. Q10 must be 25 years old, that should be older than half the population in this board. I use Q10 a lot. I 've yet to find a paragraphic EQ that is so quick in use and does its job fine. The Waves suite is the most comprehensive effects suite in the world. They constantly try to push the envelope further introducing new plugs and hardware and have good support too, i 've owned their suite since early 2001. Imho, just because every other spoiled wannabe, by all means not you of course, has access to some high end software gear, that doesn't give them the right to constantly bash and complain about innovators like Waves Audio, when they clearly rule the industry (in a good way), they even have a Grammy. And they fucking made the first audio plugin ever. Undisputed truth baby. Please all this about old fame etc, does not apply to the people who make software. It is science and not a vocal chord that gets older,thus rustier. Nothing happens to programmers with age, they only get better.
So you may perceive the Waves suite (or any other expensive plugin like the Algorithmix one) as a costly investment or simply waste of money, i see it as a tool collection that has proven and returned its value to me many times over. My simple rule is use anything you can yield good results with and suits you and your ears. After all, in the end you will know how good your results were from the satisfied or not customers/collaborators/listeners etc
PS: I still use that DB Tempo Delay and i 'm sure some have too. It's got a sound of its own and while there are much more sophisticated and advanced delay plugs, i can still find a channel in the mix to slam it on lol.

 

Last edited: Mar 17, 2017

The best tools are the ones you know how to use. Really, it depends on the source material and what you're trying to accomplish. Learn exactly what an eq and compressor does and understand what the subtle differences between them are. Then you'll answer your own question. Most people don't hear a song and go...oh...well they used a waves r compressor on the drum buss in this track. "Best" is subjective. Everyone has their own opinions based on their own biases. A tool is only as good as the person using it.

 

There are much EQ, comps nowadays.
But the key to me, apart curves, is SATURATION.

All EQ/comp with "flavors" use saturation, in one or several part of the signal chain.
Take a look at SoundToys plugs: they ALL include at least an output saturation stage. Even on delays ;)
On SoundToys, you see it with a SATURATION button
But most devs do the same, without any button ;)

Some years ago, it was VERY hard to get convincing saturation. Because it takes a lot processing power.
Since multi core introduction, devs pushed their algos, instead of crappy "waveshapers with lookup tables" solution.

The simplest solution to me ? A "neutral" EQ and a "neutral" comp, with a lot of combinations/settings.
You get a "curves" palette.
And some good saturation plugs , with different flavors (Nebula/Acqua, Decapitator,Saturn...) after.
On individual tracks and/or buses.

Think colors and curves shapes (being comp or EQ shapes). You are not a mixing eng, you are now a sound designer ;)

 

To be honest I can only hear the difference on reverbs and saturation/distortion plugins. Maybe my ears aren't good enough. So I use Ableton's EQ and compressors. I had a lot of plugins but I found myself lost, not trying enough to understand what I'm doing. So I deleted my plugin library and started to use stock plugins and I bought a few plugins that I like what they're doing.