Tube Tech Pe 1c Plugin
Libby Cowen
CL 1B Native Plug-in
The CL1B NATIVE version for VST, AU and RTAS platforms is provided by Softube. Taking the CL1B plugin project one major step further, we decided in early spring 2009 to release VST/AU/RTAS versions, and once again placed the developing task in the hands of Softube in Sweden.
The development of the new plug-in was initialized in November 2006, as a collaboration between Lydkraft, Softube and TC Electronic, with Softube doing the programming and TC handling sale and support as well. Since spring 2007, when the first software-version underwent a series of meticulous real-world tests, we spent the summer on final refinement of the plug-in, enabling us to proudly introduce a TUBE-TECH CL1B plug-in for TC PowerCore and later ProTools TDM.
Softube's Mk II version is a complete, ground - up sonic remodel of the Mk I that draws on a decade of advances in experience and technology. It sounds amazing. It looks fresh. It has features fit for a modern workflow, and the Generation Switch makes using it easier than ever.
This luxe studio hardware was modeled and remodeled from the ground up with state - of - the - art component modeling and signal processing tech. Both versions of the comp are combined in a single interface. And Softube have added the
Generation Switch so you can quickly toggle between the sound of the Mk I and the Mk II.
In 2018, Softube utilized their latest signal processing technology and released Mk II versions of CL 1B and Classic Channel. The super stunning high - resolution graphics and additional features made the best even better.
Never ones to rest on their laurels, Softube bring you the only officially licensed Tube - Tech SMC 2B Multiband Compressor plug - in, the new Tube - Tech Complete Collection 2, and additional updates to CL 1B Mk II.
i had the same thing with Softube and I took a punt and re-installed the plugins this time with the vst2 and vst3 versions as before I only had vst3 and thankfully they now work, the same ant be said for McDSP, any of them crash it trying to load even on a blank project.
Hi, there still seems to be a problem. Just installed Saturation Knob from Softube. After that the VST3 detection was crashing every time- even during each cubase startup ( cubase artist 10.0.50 btw). Very annoying: even during deinstallation of the plugin the vst3 file was not removed from the common files folder and cubase went on crashing each time. Had to manual find&delete the file to get my cubase working again
After compression, the Low and High Band knobs allow for up to 6dB of cut or boost in their respective frequency ranges. The cutoff points of these bands are intelligently determined by the selected mode, ensuring that any adjustments made are harmonically and musically relevant.
The Dry/Wet knob is crucial for parallel processing, allowing you to blend the processed (Wet) and unprocessed (Dry) signals to achieve the perfect balance. The Gain knob, on the other hand, controls the final output, ensuring your track sits perfectly in the mix.
Parallel processing is a technique where you blend the processed and unprocessed signals. The Dry/Wet knob in Blue Tone is perfect for this. By adjusting this knob, you can retain the natural dynamics of the Dry signal while introducing the richness and fullness of the Wet signal. This technique is particularly useful for maintaining transients while adding depth and character to your mix.
In the realm of mixing and mastering, the Blue Tone plugin serves as a versatile tool. For instance, on a vocal track, starting with the Vocal Clarify mode can instantly lift the vocals, making them more prominent in the mix. Switching to Vocal Focus can then add the necessary compression and mid-presence, especially useful in dense mixes.
In another scenario, applying the Mix Bus Wide mode on the master track can open up the mix, giving it a spacious and polished feel. This mode is particularly effective in genres where a wide soundstage is desirable, like in ambient or orchestral compositions.
Now Neve is new all over again, with the release of UAD Software v8.1, a milestone accompanied by the launch of three new plugins: the new Neve 88RS Channel Strip Collection, along with the Softube-developed Marshall Plexi Super Lead 1959 and Tube-Tech CL 1B Compressor.
Test the glue combination. Different circuit structures of analog compressors make some models more suitable for some tasks than others, and finding the best tool for the job will become more complex with the advent of digital compressors.
For years, plugins have attempted to emulate their analog predecessors, but they also bring several new developments to the field of gain reduction. Take a look at these fantastic plugins and see what a good compressor can do for you.
Softube has replicated the functionality of the original hardware while also adding extra parameters. Release, threshold, gain, ratio, and attack parameters, as well as a parallel compression parameter are all available. This removes the need for a second aux track to parallel compress your signal. You may also benefit from the low-cut sidechain turn.
This plugin is most widely used for master bus compression, but it also fits well for tightening up drums or piano. Check out the Waves SSL G-Master Buss Compressor if you need to apply more glue and polish to your mixes.
There are a couple of hardware compressors that have been studio classics, the Teletronix LA-2A is one such example. The LA-2A is a tube output level optical compressor and is known for its warmth and character, which can be found on countless albums, due to its slower attack and release times. The new producer of the reissue hardware, Universal Audio, knew that merely restoring the iconic compressor would not suffice. They took it upon themselves to model all of the popular sounds through their Teletronix LA-2A as part of their UAD plugins.
Instruments with fewer transients and voices are two of the most common applications of 2As as an optical compressor. This type of compression is widely used on bass and vocals, both for the smoother gain reduction and, in the case of the LA-2A, for the warmth of the tube output level.
The main difference between Mu and the previously mentioned GRIP plugin, is that Mu is a compression tool entirely dedicated to emulating a classic, extremely high-end hardware compressor, the Manley Variable Mu.
DynOne was designed from the ground up to provide you with 5 bands of high-quality parallel compression. Filters that are clear and customizable will help you monitor your audio levels without missing the subtleties of your sound. Attack and release configurations that are intelligent and responsive work within pre-set parameters to bring you closer to the sweet spot quicker and with less guesswork.
Also, if not this what do you use in the box for a vocal chain as far as compression is concerned? I love a little CLA-2A, 1176, R-Vox and recently API 2500 on vocal bus. Not all at the same time just a mix of them for different situations.
Featuring new high-resolution graphics as well as sonic enhancements, the Tube-Tech CL 1B MkII plug-in has been reimagined with Softube's latest component modeling and signal processing technology, for an even deeper emulation than before, capturing this
I thought a tube compressor would compliment my Alan Smart C-1 nicely for my 2-bus and final master to CD but can't for the life of me find any glowing reviews anywhere on the unit. It's obviously a high-endpiece of gear but from what I read on forums though the Manley vari-mu (which I couldn't afford) definitely is preferred by most. I haven't even gotten it yet and I'm already thinking of selling it. I did read comparisons between the two so there was some consolation that the LCA-2 can be mentioned in the same sentence with the Manley even if only for a second. Also Liquid Mix saw fit to include it in it's famous compressor emulations. Is this piece used by major studios or did I make another bonehead purchase? What id the TUBE TECH LCA-2B's claI'm to fame? Apparently no one seems to care about it. Bottom line, just tell me if it's good enough for professional quality 2-bus mix and mastering.
I have used the Tubetech CL2A, but the older version. It was amazing, I used to run mixes through it to add a little harmonic distortion. It was a fantastic tube compressor. I would not hesitate to buy it.
dblock, This may just be my opinoin, but after reading many of your postings, it is clear that you, like many others that post and read forums, seem to worry way to much about other peoples opinions about gear than you do on your own experience and opinions on gear. Typical amatuer rookie mistake that you better hope your clients don't find out about. It also leads me to think that you should NOT be doing any mastering work until you have enough experience and skill to understand your existing tools and what specific gear you are buying and why your buying it, way before you spend that money.
AudioGaff wrote: dblock, This may just be my opinoin, but after reading many of your postings, it is clear that you, like many others that post and read forums, seem to worry way to much about other peoples opinions about gear than you do on your own experience and opinions on gear. Typical amatuer rookie mistake that you better hope your clients don't find out about. It also leads me to think that you should NOT be doing any mastering work until you have enough experience and skill to understand your existing tools and what specific gear you are buying and why your buying it, way before you spend that money.
You do make a good point about worry about what people think about my gear choice. Many mistakes are made while accumulating gear over time and I've made my share. Fortunately, this is a hobby for me so there are no clients to worry about my knowledge of the gear I utimately choose. One of the reasons I wanted the best equipment I could afford beside the obvious sound quality is so I could never blame the equipment for my results.
Having enough experience and skill will come from... experience and skill building. No one's going to let me in there studio to mess around until I have enough skill and experience. It's the ol can't get a job withgout experience /need experience to get a job analogy though I'm not looking for a job per say. I have gotten a few contracts for library production music which is as far as my inspirations are taking me at my age. So there is no real harm done to me going the route I'm going. Thesae boards help me get a lot of experience not just in the technical aspect of recording but also in the purchasing of gear not to mention a kind of fellowship with like minded people that have the same interest more or less.
I'm getting alot of satisfaction regardless of the outcome which not all of us can say so I consider myself lucky. At least there are people who take what they do alot more seriously than I do who are willing to lend a few tips and ideas that make coming to boards like this worhwhile.