元 and up sound shitty in comparison, not sure what they decided to switch up there. You just have to learn to dial that baby in - it's got idiosyncrasies for sureĬan't hate on L2 too hard when it comes to quick-and-dirty pseudomastering for client reference mixes, etc. The 76 is killer for extreme parallel drum compression, though.
I think they fall apart when pushed hard. The CLA comps (2A, 3A, 76) see a fair deal of use, but it's generally conservative. I deploy the 560 on the master buss, to impart an extremely subtle smiley curve to the mix.ĪPI 2500 often sits on my master bus and/or drum submix. I enjoy the restriction that comes with the semi-parametric nature 550A/B, it keeps you from getting carried away. You can push the breakup pretty fucking far with this one for extreme saturation effects or lo-fi madness, but it's really unsubtle no matter how you deploy it.ĪPI EQs are my go-to for color and boosting. Its "head bump" is really pronounced, and the 7.5 ips setting can really make yo 808's thump. It's not something I would 'print' a mix through in most circumstances, it's a bit much for that, but I like it on individual elements for fluttery grit. Kramer Tape is a very dirty, colorful tape sim. Very flexible, and ideal for dark tapey delays and weird chorus effects.
I love the modulation, Lo-Fi button, filters, and ping-pong setting. But in general, I find REQ rather unimpressive compared to many stock EQs. REQ2 ends up on a lot of channels as a bandpass filter for trimming excess subs and sizzle out of midrange elements. The Warm setting is awesome for bass guitar and drums.
Not always my first choice, but it rarely fails me when I fall back on it. It beats Logic's stock compressor in a lot of instances and I generally find it to be a flexible tool for all sorts of DRC. I mix with my ears, but goddamn if that plugin isn't hella helpful when I really need to know what's going on in a nitty-gritty way. The first thing I do in any project is instantiate the PAZ Analyzer on the master buss.
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