@cuckoomusic suggested somewhere recently that the AH does a good job at glueing things together. Can @cuckoomusic and others expand on how that works? How can the AH be used on the master bass for glueing, without having a compressor? Or, is this somehow part of the presets, respectively distortion types? I am interested in glueing on the master and rather than buying a compressor, if the AH can do that job as well, this may be a better option. It is however not clear to me how this could work.
The different distortion types, perhaps especially enhancement, already somewhat flattens out the sound. Itās destructive, but when handled gently Iām finding it helpful.
The envelope follower can then get the Heat to act as a Compressor. For instance drive it a little too high, and then let the envelope dial back the drive when volume goes high.
To compare this to a professional dedicated Compressor though, you might wanna ask around a little more.
I generally find it helpful.
Although a mastering engineer that I know, and respect, found it a bit harsh on vocals.
Iām not sure how high resolution the envelope is, and how it interpolates between values for instance. It might potentially introduce a little aliasing if it moves too digitally in steps, rather than an all analog Compressor that moves without steps. Perhaps Simon or someone could step in with some nerd facts?
Does anybody have experience in using the Heat on master bus, to add slight distortion in the mix ?
I like the Clean boost circuit for this, but the problem is it adds a lot of noise in the final result. Itās not so notable when the track is on its full elements parts, but is very noticeable in silent. If i just turn the ON button when nothing is playing, i can hear a lot of noise going on, to the point the OUT levels that before ON were quiet, now became about 5%. Is that normal ?
Another thing i noticed is, unless i put the Master Volume at more than 70%, the main level will be very low.
Is the gain staging proper? I donāt think noise is something to be afraid of, but for mastering, I think it would usually be used with a mix of dry and wet. Just easing in a bit of harmonic content and character.
Distortion without noise? Seems difficult with analog gear without noise gate for silent parts.
Btw, maybe certain envelope settings can be used as a noise gate, but Iād rather use a dedicated one, or avoid silences, make more noise!
You can also use the filter to minimise it.
I found AH very silent for an overdrive / distortion, but lacking drive for high gain settings.
Actually i found out that the culprit of the excessive noise floor is not AH, but the Rytm. Even when the Rytm is not playing anything, it generates quite an amount of noise. Itās not very noticeable when in a full mix, but very noticeable in a part of the song that use few elements. The noise is about -75db , measured by Ableton.
Now iām trying ways to reduce the noise in Rytm instead of Heatā¦
Iām not using the compressor or distortion on Rytm as i already found out that these make the noise worst. Even so, i get a constant brown noise from the Rytm
I have a question or two for you Analog Heat users. I am thinking of buying an AH mk1 or mk2 to use for saturation, eq, filter and some extra umph with the envelope on my stereo mix bus coming out of the octatrack. And then also using it as a sound interface for recording into a DAW.
So basically as the final stage in a hardware chain to glue the mix together and give it some warmth and grit. Sure I might let someone do a final master once I have the bounced material on my computer if needed.
What are your experiences using it like this?
I want to use my DAW as little as because I donāt like working in the computer very much and also because I want my live sound to be as similar as the final product on an album, tape, spotify, and so on, as possible.
I have heard there are some problems with using it as a sound card/interface?
Not anymore, now that itās class-compliant USB. With earlier revisions of overbridge, there were issues with noise and other strange things. That might also be fixed with the newest version of overbridge.
As far as a final processor, thatās how I use my Heat (well, on the master insert of my mixer, but essentially the same). If your plans are to plug the OT outs into the Heat to then bring that stereo mix into the computer world, then this would be a nice solution. The Heat is very versatile and can do much more than that, of course, but youāll discover that as you go. I donāt know about itās ability to āglue the mixā, but I think it makes everything sound fantastic.
The true way to use the Heat is with it connected to a patch bay and normalled to whatever you will use it with most, for you on the master outs on your mixer or whatever this chain youāre referencing is, that way you can very easily patch in whatever instruments you want through it without having to re-wire a bunch of crap. Make it easy for yourself to patch other stuff into it, and that will result in you using it for more experimental stuff on other instruments.
I see a lot of āglue, master bus, mastering duties, warmthā etc talk in regards to the Heat, and sure, those things, but I donāt see that many people talking about it on keyboard and other sound sources. Strapping it to the master LR outputs of a mixer or whatever and leaving it on āClean Boostā or āSaturationā is like hiring a Spartan to guard a coffee stand. Not that thereās anything wrong with that usage, not calling you out @cold_fashioned cus I know you get it, just saying it wants to do that AND MOOOOORE!!! It wants to be a freak!!!
Thanks, that settles it. Considering I get a decent sound interface with pretty sweet a/d converters (I have heard?) plus all the other stuff for about 500 dollars is pretty crazy.
I will use it on the final stereo mix bus but I will also use it on independent stuff, like synthesizers and so on, going into the octatrack when sampling. So I will def use the more extreme aspects of it aswell.
I will probably get the Mk1 cause there are a few used ones for sale here in Sweden right now.