Todd Urban Interview

Part 2:"There's one person that I would like to do a record with now, and that's Sade..."

In the second part of the interview with Al Schmitt we will once again return to the times when there was no digital. We will also talk about today's music, full of compression and lack of dynamics. We will talk about his path to the Grammy Awards, the art of catching the "right moment" in the studio, we will also meet those who unfortunately are no longer among us.... Frank Sinatra, Miles Davis and the king, Elvis Presley....

If you read the first part of this interview (link here), you will surely know how unusual the mood was created during this conversation. When you have the opportunity to have a moment of contact with a man with such an amazing life, when you have the opportunity to listen about so many wonderful moments that shaped the music... in the air something extraordinary is produced... spoken words turn into images and when the author of these words is Al Schmitt, these images are additionally filled with music, which awakened by the memories of Al starts to play, tearing down barriers between you...

 

This is an extraordinary moment, which will certainly not be repeated in the same form ever again... Perhaps that's why I've been looking for words to the introduction of this and the first part of this interview for so long...

 

For many, he is the best translator between the inspiration of the musician and what moves us later when we approach the speakers... Ladies and gentlemen, for the second and I hope not the last time, Al Schmitt....

Adrian Lucas Witaszczyk: Todd, let's move into software territory. Let's talk about plugins....

 

Todd Urban: Okay, great!

The first thing that always comes to my mind when it comes to Softube is clean, detailed open and a little bit more modern sound character, more Hi FI, than other developers. Besides, Softube are always associated with stability and good optimization of CPU resources. What would you say if I asked, what in your opinion Softube has to offer to new potential customers? Why take an interest in Softube plugins and bet on them?

Yeah, the component level modeling that Softube does is really detailed and special. Is not only going to sound more like the hardware, but it will also feel more like the hardware. If you've never touched the hardware and you use a Softube emulation of something like, let's say, a Tube-Tech and then you go try the hardware of this Tube-Tech, you should feel very familiar to how far you turn the knob and exactly what to expect sonically. There are a lot of plugins on the market that may look like a hardware, you know, the GUI may visually look like it, but the sound is not going to be the same. And so we take the extra steps to really make the product as close to the hardware as possible. And that's really the difference.

 

If you want to go buy 100 plugins that just look like colorful plugins, of course, you can, but we feel that you're better off getting three or five plugins that you really need for your toolbox and learn to use them well, just like you would learn a real piece of hardware.

Oh yes, I must admit that this is a very good approach, which in the long run gives not only a better mood, but also which is probably the most important thing, much better results when it comes to the quality of your mixes. Besides, I know what you're talking about, because recently I had the pleasure of testing several hardware
devices and comparing them to Softube stuff and the effects of these comparisons can really be surprising.

Anyway, they will soon be available. So both you and everyone reading this interview will be able to listen to the tests themselves.

Returning to the questions....

I don't know how about you Todd, but I have the impression that Softube plugins stand the test of time very well. While on the VST plugin market there are many companies whose plugins are quickly outclassed by the competition in terms of sound quality, Softube plugins despite the passage of time are still just as useful and still sounds great and fresh. Is this an element that you have developed or is it just good coding and knowledge?

I think it's good coding and knowledge. But I think that when we release a plugin, we really take the time to make sure it's as authentic as possible. And that usually means we're not only doing our testing and internal testing, but then sending it back to the manufacturer of the hardware, you know, sending it back to Tube-Tech or sending it back to Summit Audio or whoever else. And then letting them decide can they hear a difference or can they feel a difference. And if they say they can, then we go back and, well, maybe not start over, but we adjust until we can figure out what is missing. And I think that's why you find that these
plugins can last while other companies may be putting out let's say 30 plugins a year and we put out five or something.

We take a little extra time to make sure that it's going to last forever.

There's one more thing. We want our users to feel that if they make a purchase, they can use that for forever. I mean, that this plugin will be theirs to using and keep and it's not that they have to pay to update. They don't have to do this.

For instance, if you don't have the Tube Tech Mk2, the original Tube Tech products, like for example the CL1B compressor,

it's still an excellent product and there's nothing that's not amazing about it, but the new one has better graphics as graphic technology changes, and as Tube-Tech provided a different unit and we were able to remodel it. We found a few things that we wanted to adjust, so there's a slight sonic difference too, but there's no reason you can't still use the original one that's been on tons of albums.

Oh, the CL1B is one of my all time favorite Softube plugin and one of my favorite plugin compressors. It's amazing in many ways, it's also really time resistant. You know what I'm talking about, there's this term....

I know what you mean, long lasting!

Yeah your plugins never goes old. And that's fascinating! For example, the Summit Audio Grand Channel bundle.

Both the TLA-100A compressor and the EQF-100 equalizer have practically not aged. Many mixer engineers, youtubers, reviewers and regular users declare that they keep coming back to them and more and more often prefer them to the newer and more modern channel strips released recently. Do you feel like you've made a perfect product with the Summit Audio Grand Channel?

I think so! We wanted to combine the EQ section and the Compressor section to get a better workflow. Of course, you could also use the products separately, so you don't have to use it together. But the workflow of the whole channel together just works nicely. Besides, as you know, the Summit Channel Strip has been optimized for Console 1.

Both devices on which we based the channel strip are two well known products. The TLA 100 is kind of one of the top optical compressors out there. We find a lot of people use it on vocals and the EQ is a very different type of EQ. It sounds different from other equalizers from our offer, with the rest, not only from our offer. It also has a different feel in terms of the way it interacts from one band to the next. It's very smooth and it does something really special with sound. So I don't think there's sonically anything we would change there. It captures the hardware and if something works, then why change it?

And there's nothing to change that we see. You know, we don't see anything there that we need to improve necessarily.

 

If you were to look at the Summit EQF-100 equalizer from the perspective of an ordinary user....

How close is it to the hardware? And do you think it's important for such a unique plugin to be faithful to the hardware? You know, sometimes happens that while working on a modeling an analog unit you get a sound that becomes a class for itself. Do you think this is what happened to both Summit plugins?

Well, we always think that the plugin should sound exactly like the hardware. Otherwise we will not put the product on the market because that's what we feel is the biggest pride in what we do. So, in order to keep that integrity and in order to keep that quality we will always make it as close to the hardware as could ever be possible. That's the case and I really think it's super important, because, if I am using Softube plugins for, let's say, five years, and then I go into a studio and they have
the hardware TLA 100 and I would adjust the parameters and get a different sound than the one I'm perfectly used to in those five years of using the plugin, I would feel that something really isn't right. And that's not the field. That's not the interaction we want. And that doesn't help anybody. It doesn't help the hardware and it doesn't help us nor doesn't help the person using the product. It should feel that there's a bloodline, the same DNA, from us as software to Summit Audio as hardware to the person who uses it. We should all be working together to make one experience so that everybody benefits.

 

You said that in Softube when emulating existing hardware you always try to get as close as possible to the original unit. So what are your biggest problems in this respect? saturation, non linearities? true behaviour and dynamics of the device?

Oh, everything! Each of these things is a big challenge! Sometimes when you adjust something on hardware that is supposed to be just a simple tool, let's say, a makeup gain, it's supposed to just add clean volume or clean gain, right? But, sometimes it could affect other parameters because of the way the hardware is wired. And we make sure that we capture all the details so that it responds just like the hardware. We're always making sure that we're not just looking at how the signal flows through, you know, just beginning and then to the end, but we're also taking a look at how every single knob interacts. So, you know,
some companies will take a look at just running a sine wave through and just seeing what comes out the end. We're taking a look at what happens when you go through the high filter and then what happens if you adjust the filter and the mid band at

the same time. Does it adjust what happens on the low end or the high end? You know, how does the circuit interact together.

It's a different approach to the way people model compared to Softube. 

 

So, sometimes we look at every single component and then we get to the end and we look at that and it's like, well, that actually affects the input or it affects the threshold or it affects the EQ band or something. And then we have to go back and see and figure out why it is this way and understand that. But we always make sure it models faithfully the original hardware.
No matter how hard the work is!

What about saturation and non-linearities?

Softube is known for modeling saturation, which is another word for distortion. That's something that the developers spend a lot of time on. But nonlinearities basically mean anything that's not just your direct sound. And that's what I'm talking about from the idea of making sure that when you have one filter or one frequency band adjusted, you know, how does it affect another band. Sometimes it's not just measuring that one band on its own, but it's looking at everything along the way.

 

So, with something like the Summit Audio TLA 100, Softube kind of took the hardware a little further. They modeled it perfectly, but then they also said, what if somebody wants to be able to drive this harder like you can in real life? You know, in plugin form it can be a little difficult to gain stage properly. So they actually give you a saturation knob on the TLA 100, which does not exist on the hardware but it's modeled after the actual hardware, after the saturation that comes from that compressor.

So, by giving you that knob, it lets you say, okay, do I want this to be kind of right where it should be when it's modeled perfectly? Do I want it to be a little cleaner? Or do I want to turn up the saturation? So that I can push it harder just like I would in real life if I fed a heavier signal into it.

I asked this because I have a feeling that Softube often tries to give something more. A kind of a hybrid, kind of a software reincarnation of the perfect reference device, you know what I mean? That was probably the case with the British Class A channel strip, where you used several different hardware units to create one particular channel strip, which you studied carefully to make sure your version would be the right one....

Oh Yeah, definitely! We have tested and used a few really great British devices and tried to get a kind of a perfect reference of that desired sound character. It was a separate pieces of classic British gate, EQ and compressor. And we kept true to the original. The only thing on the British Class A that changed from the original hardware is that we added an additional middle band. It's actually the same middle band, just twice. We offer this because on Console 1 we have two hardware knobs there. so why not give it to you? It just allows user to have more options, but it's still the same exact sound as the original hardware we modeled. In that process we used several units of the device to make sure that the sound is exactly as it should be.

 

You have used a similar approach when working on American Class A, which is also a hybrid, right?

Exactly! The same approach there. We took a deep look at the compressor we felt fit, the limiter we felt fit, and the EQ we felt fit. And we we gave those options to the users.

With the recently released, much-awaited native version of Chandler Limited plugin family, you have opted for an accurate software reproduction of the existing reference hardware models of iconic and beloved gear. How close did you get to the reference hardware? And where (if any) are the biggest differences?

 

Yeah, I actually have had the chance to A/B the hardware Germanium Compressor with our software version and I cannot tell the difference.

 

The Germanium is an unusual compressor because usually you have an input stage and output stage in your threshold and in your ratio. This one has a lot of interacting circuits, which honestly I don't even fully understand because I've never taken apart and looked at how it's wired. But it works in a very musical way where by turning one knob you affect every other part of the compressor. And it's not just in terms of what's getting compressed, but also how much distortion you're getting or how much feedback you're getting where it's kind of feeding back into the original circuit.

 

So you can get things like additional room sound on something like a drum overhead, which is very difficult to do with just a traditional compressor. This really lets you kind of get into the sound and make some unique sonic changes that go way beyond compression.

 

Oh now, I'm really curious if you'd say anything more about this compressor.... What amazed you most about it?

I think basically the biggest thing that amaze me is that you can play it like a musical instrument. It's not just the matter of setting the threshold and get gain reduction. You've got very different colors and curves you can select from which all add different harmonic content. Some will be a little bit lower in terms of frequency response. And then, from there you can
decide how much feedback you get, and it's almost like your makeup gain stage. That makeup gain is not clean makeup gain it's a very saturated makeup gain. So if all you did was add the germanium compressor into your circuit and put it at 1:1, you're going to get a lot of sonic benefits without even adding compression. The compression is almost like a secondary feature on it. It's just got such a unique sound that you just can't get with another compressor.

 

What about the Curve Bender? Did you manage to check it against the hardware?

I have not done that on my own. But I've heard examples where people print the tracks and they sound pretty spot on.

The biggest difference I think with the modeling, because it has gotten so close to the hardware, is whether or not you want to be able to touch a knob, because that's where the feel and the musicality comes in.

 

So the nice thing about the Curve Bender, Zener Limiter or the Germanium is that they can be loaded into Console 1 without
having to spend all that money which you would have to spend on hardware, instead, you could get a Console 1 in the plugin and get really, really similar experience and the sound is going to be there too. Besides, I don't have a ton of space in my studio. I would love to have a Curve Bender and some Germanium compressors, but I don't have the space here to put them so even if I had them I probably wouldn't be able to use them just due to space limitations.

One of the settings of the Germanium compressor is the so-called Zener Mode, so, why it's worth buying Zener when you bought Germanium before?

Yeah, there's a Zener setting on the Germanium which models some of the circuitry. Usually, and this is my personal opinion,

I like to use very little compression. Maybe one, two or three dB of reduction. And the Zener is kind of like a heavy handed compressor. So for me, I like putting it on something like a drum buss, which will kind of give me a little extra punch, but I'll
use it kind of lightly. The difference between that and the Germanium is that with the Germanium I really like to actually do the opposite of what I usually do, I will really do a ton of compression like 10 Db or more. But then I'll parallel mix a lot of the dry signal back in. And the reason why I'm a little bit heavier with the Germanium is I just find that there's a different sound and a different way of customizing the sound to get a lot of different colors out of that compressor. So, yeah, for me they feel very different. The sound is also different, as well as the response to transients. 

 

I think it's very difficult for anybody to understand this in words. You just need to demo it and try it and listen and you'll see that there's just a different feel and you're gonna use them differently depending on how you personally mix.

 

The Zener-Bender for Console 1 is an awesome channel strip for Console 1 that gives you that Chandler Limited sound in one great package.

As far as I know, you are the only company on the market that has paid so much attention to reproducing the inductors which are very important to the sound of Curve Bender....

Oh Adrian, you surprised me with that question!I know you spend a lot of time preparing for interviews, so you're probably right about these inductors, but unfortunately I don't know enough about it to give a satisfactory answer!

 

In that case, where do you see the greatest strength of your plugin version? Is there a situation in which having the hardware you would still prefer the plugin?

 

Well, yeah, definitely! One of the things is that if you are looking to use more than one instance of the unit then you can actually do that with plugins. With the hardware you can only use one instance of hardware at once, right? And that's kind of the big thing for me.

As we know your Curve Bender was previously available to owners of Universal Audio devices. Why such a slip with the native version? License agreements or technical CPU related restrictions to release it without an external DSP? My readers are always curious about all these behind-the-scenes arrangements....

Yeah, we worked with Universal Audio on the initial release of the Curve Bender. And the way those agreements work is we release it exclusively on the Universal Audio UAD platform. And I think for this one, it was three years ago, I can't remember exactly. But whatever it was two years, three years, something like that, after which we were able to release it natively.

 

So the nice thing about that is, it's kind of an exclusive product that people who are Universal Audio users kind of get the first opportunity to try it. But then we made it available to everyone down the road, and we made some changes to the GUI but those were just graphical things.

How long have you worked on Chandler Curve Bender? How was your partnership with Wade Goeke?

Oh, I don't know about that one. At Softube the teams are very divided up so I don't know if that's took one year, three years, or more. I would assume it was a long time because Wade's circuitry is brilliant, but it takes a long time to really understand it and test every single part of it. We work with Wade to make sure that he's happy with it. It's not just like we do it. because as I said earlier we actually bring it back to him and make sure he's happy with the test and he feels it sounds like the hardware.
Unfortunately, that's all I can say about it.

 

What was most important to you in this project? The element (apart from the inductors mentioned above) on which you focused the most?

I guess it probably would be the distortion characteristics of it. There's a certain sound to it that's different and unique.

The Curve Bender is going to look similar to other products in terms of controls, like certain UAD EQs and even like a Manley Massive Passive is going to look similar, but it has a very different sound because of Wade circuitry. And if you just put

the Curve Bender on something like your master buss and make the smallest little adjustment, you'll hear that harmonically everything changes in a very musical way. And so, it's not just a very colorish EQ, but it adds a very specific sound.

 

And I think that this was the most important element for Softube and it was the one they worked on the most to capture it
in the plugin version.

Since we're talking about Softube and the topic of compression has come up, I can't help but mention the compressor that started my adventure with your company....

 

Tube-Tech CL1B. In my opinion is one of the most amazing plugin compressors available on the market today.

My absolute desert island plugin. It's so all-purpose workhorse! So, I can't help but take the opportunity to ask you how you use this compressor? Any unconventional useful tips and tricks?

I wish I could tell you that I use it in a non traditional way, but I probably use it like everybody else does. I find that it's a very accurate compressor. You just need to understand the controls and then the magic begins.

 

So, when I need to get a very fast, good, big sounding dynamic control over transients, the CL1B is great for that. And so it's one of the reasons why we hear it a lot on hip hop vocals. You know, an aggressive, punchy rap vocal will benefit a lot from that ability to kind of grab a transient or grab that initial attack, tame it down and get the whole thing just to sound bigger.

It's great on certain drums. It's great for making guitar sound bigger and fatter. It's amazing on basses. I really love it on bass. I'm a bass player. So I'll use it a lot on bass.

 

I'll leave it on a 4:1 setting and just add the tiniest bit of compression just to make everything sound like it just fits better in the mix. And it just makes the whole bass sound bigger without making it sound muddy. You know, a lot of the times if you just try to boost the low end it'll muddy up the bass. CL1B will just have it feel bigger without having it take up too much sonic space.

 

And do you ever used this compressor with the fixed auto setting? I'm asking this because unlike some other compressors, its fixed setting is really useful, even on vocals...

Yeah, I think it depends how much time I have to spend on things, you know, we all want to make the best mix we can but the reality is sometimes we have to mix really quickly because of a budget or because of being in a rush.

 

So, sometimes I'll just leave it on the auto settings and just do a little bit of compression without really taking the time that I would normally want to. And I find the auto settings great for that. But if I have the time, I will usually compare the auto settings to what I think works. I like to really fine tune my attack to make sure that I'm not losing too much transients and I like to fine tune my release to make sure that the release always fits with the tempo and the rhythm of the music.

In addition to the CL1B compressor you also have two great Tube-Tech equalizers. The PE 1C and ME 1B.

What have you managed to improve in the Mk2 version of Tube-Tech Complete Collection bundle?

On the Mk2 we redid the modeling. So sonically there are some differences. I don't know exactly, engineering wise, what they changed or what they looked at differently but the Tube-Tech EQs have been around for a while now and they felt like it was time to revisit it and to make some changes where they felt that technology has allowed them to do some additional modeling.

 

And then, one of the biggest things that was an improvement was the graphics, which, you know, we always talk about how this is about sound and not about look, because it really is about the sound. But, as things like retina graphics came out on
computers, it was important to us to make sure that some of the plugins are updated so that people can see exactly what they're dialing in. And it also makes it a better user experience to make it look more like the hardware. 
In some ways it makes it feel more like the hardware too.

In what mixing scenarios you're reaching both Softube Tube-Tech Equalizers for?

 

Well, it's meant to be one equalizer, but it's obviously two different hardware units. The mid band works great for guitars.

It lets you really just set a high and low mid band that you could boost. And then there's a middle mid band that you could cut. And so for something like a guitar it works really amazing. You can quickly make a great guitar sound that fits the mix.
You know, scoop out the middle a little and then open up the sides. And especially if you have more than one guitar you could set them slightly different and it makes the two guitars sound like they take up two totally different spaces.

 

And then for the original Tube-Tech EQ, sometimes I use it on vocals, I use it a lot on kick drums, and bass.

Most people know the so called, low end trick, which is to come up with that reciprocal boosting cut, which is where if you boost and cut at the same frequency you get kind of a little dip before the boost. So you can boost the low end and clean up

by cutting right before it. Tube-Tech PE1C is great for that.

 

Oh yeah, definitely, there's also a so-called Motown trick, where you try to make room for vocals to make them bigger and more polished. It is worth mentioning that this technique is the birthplace of the Motown sound. In a nutshell, you took the instrumental base and use this type of equalizer to work on the frequencies of the backing track to make room for the vocal parts.... 

 

In addition to the Tube-Tech equalizers, those who have never used either the hardware or software version, usually

are expecting a classic Pultec tube passive equalizer, full of mojo and a bit unpredictable, but in my opinion, Tube-Tech, yes, it is a tube equalizer, which is a strong reference to its classic vintage predecessor, but in terms of sound, Tube-Tech has its own character recognition. It is a cleaner and definitely more modern sounding unit.

How do you see it and how would you describe the essence of the character of both Tube Tech Equalizers?

 

Oh, I think you did it perfectly, as if you were reading my mind. You know, the original Pultecs and the Tube-Tech, when compared side by side, are both excellent products, but there is some more high fidelity sense in Tube-Tech. And with that sometimes comes additional clarity, especially in boosting things like the low end.

 

So it's a slightly different character. But the partnership between Tube-Tech and Softube has been strong because they both believe in this high fidelity product and the idea of making the best sound you can. Tube-Tech made really some of the most high fidelity sounding Pultecs that you can have and the partnership with Softube just seemed natural to make sure that it was modeled properly with that in mind.

 

So yeah, I think you basically summed it up well, it's got that punch, it's got a higher fidelity sound, or maybe a cleaner, more refined sound. It's just a slightly different character.

When it comes to the compressors, Softube has one that is relatively rarely mentioned.... a very special compressor for special tasks. VALLEY PEOPLE DYNA-MITE This compressor sounds like no other available in the VST market....

 

So the Valley People is a VCA compressor and it's really great on something like a snare or a punchy bass or anything

that's very punchy. It is worth mentioning that the controls on it are confusing. And we kept them to the original hardware.

But since they are slightly confusing, we also recently released two versions that come along with it. One of them's called

The Gate and the other one The Slam. And those basically take the actual thing and make the functionality of it a little bit easier to understand.

 

So, The Gate is one of the most aggressive sounding gates I've used. And for something like trying to get a snare to sound punchy and to cut off like when you're picking up other drum sounds, it's probably my favorite gate to use.

And then the Slam is great if you're just doing general compression.

 

So if you're trying to get that kick or bass compression, especially if it's like a slap bass, the Slam is great for that and they make it way easier to use than the original hardware design.

Okay, let's talk about the native Marshall Amp Collection.... Finally! But the UAD version of this amplifiers has been available for a long time. Have you somehow improved the code?

No, I believe it's the same product. The idea is similar to the Chandler Curve Bender that we released it with Universal Audio, as say specifically Universal Audio exclusive on for the release period. And then after that period we brought it to be available for people who are not UAD users.

So let's take an objective look now. Does this amps still present the best possible quality of virtual amps made by Softube?

I'm not going to give you my opinion I'll tell you what other people's opinions are. As I've seen guitar players use it, they're very impressed with not just the sound quality, because these days everybody's expecting great sound quality, but that it feels responsive the way a real amplifier would. And that's very important. I have some people I work with, who hear the Softube Kerry King model and they play through it and they go wow, that's amazing. And then they don't like the Plexi as much.

And then I have some people who play through the Plexi and don't like the Kerry King as much and I think what it comes down to is the style of music people are playing and what you're looking for in the mix.

 

So usually the people who want the Kerry King amp are going to be playing more heavy music or they want a really fat
wide guitar sound. The people playing the Plexi want more of that kind of original Marshall blues, rock sound.
And so all of them are very different amps and I don't think one's necessarily better than the other. I think it's more stylistically which one works better for you. It's a personal choice.

 

Oh yeah, although I have to tell you that when I tested your Karry King model I was able to get a really beautiful clear sound from it. So it's a very versatile plugin qmp, but you're right. It's always a matter of personal preferences, style of play and needs.... While working on these plugins you had access to a special reference model of 1959 Plexi Super Lead, a model from Marshall's private collection, so you can assume that this is probably the best-sounding and most faithful Marshall software amp on the VST market?

 

Yes, the amps was picked by Marshall, they told us which ones to model and they were part of the modeling process.

They listened and gave their feedback. So Marshall did have a lot to say. It's not like Softube went out and just pick some

amps up at a store. So yeah, they're probably going to be more authentic because of Marshall's endorsement as to which the
absolute best amp they felt they created was, and then we put our time in making sure it was modeled.

Your favorite Console 1 channel strip is?

Believe it or not, the one that it comes with it for free, the SSL 4000 E is probably the one I use the most. But second to that will be the British Class A. To me that one is the most different in some ways. So I use that a lot too.

In truth, I use them all a little bit but the 4000 E is the one that I kind of learned on and so I probably go back to that the most.

 

Do you happen to mix it up? Console 1 gives you that possibility too. If so, how do you use this possibility most often?

Yes, the American Class A on drums. The 4000 E, I love it on rock guitars. The British Class A I use almost exclusively on strings instruments, like acoustic guitars, and also on vocals. I use it on almost every vocal actually. The 9000 K, I use it on classical music a lot. And if I'm doing something that's like electronic or hip hop, then I'll use the 9000 also.

The Summit Audio is kind of like my specific channel strip that I pull up for very specific uses. So, for example, if I'm doing upright bass, I'll use it. If I'm doing a singer and a guitar player and I want the guitar to be a very fat big sounding acoustic guitar, I'll use it there. So the Summit Audio is the one that I kind of pull out as my special single use one.

 

The recently released Weiss Gambit Channel Strip is great for mastering, and for situations where I have to deal with difficult tracks, you know, when I have to go surgically to cut something out. I also use it for mixing when I want a really clean, clear detailed sound, or when I want to keep the session sounding original, I reach for Gambit. It's really unique, it sounds great and as you know it's not an emulation but real algorithms from Daniel Weiss original hardware equalizer. So it's really special one.

Oh Yeah I agree! I use both Gambit and Summit Audio practically for all my acoustic and jazz projects.

They both amazing! Summit Audio does something special on female vocals....

Oh yes! Exactly! You're right!

A few words for those who read our conversation....

I'll tell you this. When mixing music it's always important that no matter what product you're buying you use your ears. Sometimes we get caught up at looking at things, whether it's a screen or the colors of a specific product. And the big thing that Softube is most proud to say in terms of integrity is that we always give you the best sound quality possible.

So when mixing, remember that people always listen to your sound. And you should always keep that as your main focus.