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@Mattincredible You're welcome! Thanks for watching and for your question. For this video all conversion was done using my original Apogee Symphony I/O with 16 analog ins and outs at 96k (the one with the silver faceplate). It's a fantastic audio interface that I still love. Clean and pristine conversion. I had the Dangerous Music Convert AD+ and used that for many of my videos in the past. That's also excellent and as high end as they come, but I like the converters in the Apogee Symphony MKI and now the MKII Special Edition modules best of any converters I've tried. They're just so clean and detailed. I can hear everything. That's all I can ask for. I got the Dangerous AD+ for the final print and its clipping capabilities like many top mixing engineers did/do with the Lavry Gold. But I've since sold it because I found I no longer needed the clipping capabilities. My mixes are coming out as loud as I want done completely in the box and with a simple real time export from the DAW.

@Rhythmattica Yeah. And at $75 for the whole Fusion bundle over Black Friday, that makes them a no-brainer for anyone who previously owned the hardware or has been wanting access to it. Thanks for watching and leaving a comment my man. Good to see you! ✌🏼❤️

Hey @WaynePryce thanks for watching and for your question. Well, no but I can see how you could draw the comparison. The Fatso is a compressor, harmonic generator, soft clipper, high frequency saturator, transformer and tape head emulator. The BBE Sonic Maximizer adjusts phase relationships between frequencies, not by compressing the signal. It breaks audio into three multi-band segments, and delays the mids and lows so that the highs are heard first. This gives the audio a clear, defined sound, with the body and low end coming through later.

@bkxt You're welcome! Thank you for watching and for your question. The Bricasti hardware along with all reverb plugins were captured at 96k.

@MrXikwriNeyrra On which example(s) did you see the EQ not matched? The EQ on the hardware was matched precisely to the plugins. If anything, I could've matched the EQ more closely doing it by ear, but what would be the point of trying to match the hardware? I want to know that when I boost 3 dB of the high shelf on the plugin, that it sounds just like boosting 3 dB on my hardware. EQ curves are fairly simple to match between plugins and hardware, it's the sound of the audio passing through the electronics that the plugins don't quite get yet, and that's the bit of magic I like and listen for. And I would never purposely try and make hardware sound better. I'm always rooting for the plugins.

One on the fusion isn’t a full eq, so you just answered your own question

@@Gang-25j Thanks for the reply. I realized that I can achieve the same effect with plugins. That's why I'm thinking of buying Zahl Eq 1. Best regards

@cubaseman1487 Oh yeah. Zahl's a good one!

@Charles-mv6qe you have some really good ideas for this box and yes, it's very easy to overdo the SFE. It's a good one for sure, but maybe something you buy from a dealer that gives you a good 30-45 days to try it out and see if it's worth the $$$ for how you'll use it. I wouldn't want you to get stuck with a $4k box that you don't use for anything but the silk circuits. I say that because I see so many end up using it just for one feature like the silk circuits or the width/depth control. I feel like it ends up being too expensive if you find yourself using it primarily for one of those functions.

@GeorgeAmodei21 You're welcome! Thank you for watching and taking the time to leave a comment. I really appreciate it.

@Alwaysbaggyjeans You're welcome! Thank you for watching and for taking the time to leave a comment. I really appreciate it. ✌🏼❤️

@KeikoFXDesigns The Distressor is a no-brainer. It gets clean as it wanna be or gritty as it gets. Whatever you need, it do. No need for the DBX if you get the Distressor.

💯 Thank you for watching for taking the time to leave a comment. I really appreciate it. Keep at it! You're only a song away.

@BeachPresent thank you for watching and letting us know what you thought!

@gabrielr4329 there are no preset buttons on the front panel to get the Distressor to sound similar to the classic compressors. You just have to adjust the controls. To simulate the opto-VCA models of old (the LA-2A, LA-3A, LA-4A), try 10:1 "Opto" ratio, with attack on 10, release on 0, Det HP on. Adjust input and outputs to your taste. Keep the attack above 4 to keep the OPTO flavor. Faster attacks will give you a more aggressive sound. Remember our LED metering deflects much faster than the old VU's so don't be afraid to hit the unit quite hard (10-20 dB of compression on peaks). To emulate tubes, try Dist 2 & 3 mode, but let your ears be your guide. For a classic “Over E-Z” (DBX) type sound, try ratios 2:1 thru 6:1, att 9, release 2, clean mode. 1176LN 6:1, Att 0 - 3.5, rel 1 - 10.5. Use ratios 3:1, 4:1, 6:1, 20:1 to emulate 4 1176LN ratios. Clean mode is appropriate (Dist 2 or 3 off). Remember that the 1176LN attacks extremely fast and you must keep attack under 4 max. A familiar sound is 6:1, att2, rel 4. Old Fairchild IGFET - 6:1 att 3-5, rel 2 - 7 (start with att 4 and rel 4). Hope that helps!

Thank you for the thorough response. Are you available for consultation?

@mistermusicenterprise3148 Thank you so much. I sincerely appreciate that. You're too kind.

@caseysynesael5901 Yes. I've fixed that issue since. Thank you for watching and for the feedback.

@MuslimShortanov Thanks for watching and for your question. If you use the MBP on your mix bus and it's part of your sound, it's fine to leave it on and send it to the mastering engineer. You may just want to not use the limiter because the mastering engineer will use a limiter to bring up the level to a competitive volume. But any gentle mix bus compression and stereo field processing is fine to do and leave on if you have it dialed just the way you like.

@@LesVegasMusic thank you for your prompt and kind answer! I agree.

Haha. Yeah man. I went through it myself with the UA Apollo back in 2013! I was like, why does everyone like this microphone?! It's so quiet! 🙂

@@LesVegasMusic In few days I bought it with scarlett 2i2 3rd gen but I was struggling even to listen to myself with maximum gain, I was so confused before watching this video !

Haha. I know it. Just have to get a preamp or for now, try putting a simple gain plugin on the track and crank it up 6-12 dB. This way, you'll be getting a clean (quiet) recording around -18 dB, but you'll be able to hear it back over your music. You can always just use clip gain to increase the volume after you're done. Putting a good vocal plugin on the track like Xvox Pro or CLA Vocals while you're tracking will help as well. Either of those will act as the gain plugin as well.

Thanks for watching and sharing your thoughts. I hope you're able to get one someday.

@@LesVegasMusic its too exp - maybe , maybe behringer will do it for $49

@@justinb9387😂 Yes. Maybe.

@TH-camr-uy8gd Oh man, that's great to hear. Thank you! I really appreciate it. You can definitely get a quality recording without the CL1, but it's hard to work with because the signal you're recording will be so quiet. You won't be able to hear it well over other instruments unless you add a simple gain plugin or vocal plugin like CLA Vocals, XVOX Pro or Joe Chiccarelli Vocal Strip for example. If you're just recording a voiceover without other instruments, then this becomes less of an issue. The bottom line is it really helps and you should buy it if you can. But, can you get a nice clean recording with the SM7B and Apollo Twin without a CL1? Yes. Definitely. It will just be hard to hear without adding a plugin on the track and you'll probably need to increase the volume using clip gain after you record to get it peaking at proper input levels which should be around -10 dB to -12 dB in your DAW. You'll probably see your signal peaking around -18 dB or less without a Cloudlifter unless you crank the input all the way up, but then you'll probably hear too much unwanted noise. So, it's definitely best to keep your input level low on the Apollo Twin and increase the gain with a Cloudlifter if possible. Hope that helps!

@DvrkFvther Thanks so much! I really appreciate that. ✌🏼❤️

🥲 does that mean "yes"?

No. I ended up selling it, but I always wished I gave it more of a chance. It's a lot to get into with the cost of the Orbit, a 16 channel interface dedicated just to summing and the cabling. It also complicates routing during the mixing process. It's a big commitment financially and technically and I wasn't getting the results I was hoping for. It was a minor difference that to me wasn't worth the dollars and change in workflow. But I'd like to giving summing another try sometime either with the Orbit or Dangerous XT+ and try mixing into it opposed to adding it on at the end. I'm pretty sure I'll still prefer what I'm getting in the box today but, you never know until you try it.

@dchnk Thanks for watching and for sharing your thoughts.

@nickysmirk1160 Thank you! I really appreciate that. I'm just getting started! New Zealand. Beautiful country. I've always wanted to go. I think the people there are my kind of people and that I would really connect with the nature there.

Alright! Awesome! That should be great! I wish you the best of luck with it all. Feel free to come back to this video and share a link to the tune you recorded with it here in the comments section. We'd love to hear what you made with it.

Woah! Great question but I can't honestly answer it because I've never had the opportunity to use a GML! I can tell you this, the GML has always been #2 at the top of my wish list for mastering EQ's! I haven't seen one selling for less than $4,500 though and I've seen NSEQ's selling for just over $2k so, that's a big consideration. The GML is a gold standard though, where the NSEQ is more one of those that people who know it, know how good it is and love it like myself. So, you won't go wrong with the GML if you're looking for clean, but the NSEQ can do clean and character with its twin topology. The other one to consider today is the IGS 825EQ. That has moved right up to the top of my list now.

@@LesVegasMusic I guess the top 1 is the maselec haha

@@vazdaqui8513Ooo. Another good one and definitely on my list but no. Sontec 432! It's only like $20,000 used though! 😂 I'm quite sure I'll only ever have the plugin of that one but I keep it on there just in case. 🙂

@billcourtney3894 Thank you!

@johnisrael5183 Yes. I've tried it. I was going to make a video on it, but I didn't like it. It had a glassy sound to me.

@@LesVegasMusic bit muddy to me

@Sunmoonstars1 You know, I tried the MBT and had really high hopes for it but I ended up sending it back. I was going to do a video on it but decided against it. It was one of those situations like our Mom's would always say "If you can't say something nice, don't say anything at all." I just couldn't get it to improve any of my mixes. It's definitely an excellent piece of gear and you know who I think it's really good for? People who work 100% ITB and don't use any plugins on their mix or master bus. It will 100% make their stuff sound better, and by a lot. But I already use plugins on my master bus and I couldn't get it to improve what I already had. It just made everything sound worse no matter what I tried. And I tried a few times with proper gain staging the whole way through. When I took all the plugins off my master bus and re-mixed the tunes mixing into the MBT, I could get a great sounding final mix. However, when comparing the mixes I did with the MBT to the mixes I did with plugins on the master bus, I preferred the mixes using plugins a lot more. There wasn't even a question which I preferred. The results were very clear. So I'd say if you haven't landed on master bus chain you like yet, then give the MBT a try. You'll probably be floored by how it improves your sound. But if you already like the sound you're getting but think this may bring it up a notch, I don't know. I'm not sure it will be the answer you're looking for.

@@LesVegasMusic wow really this is a bit shocking to hear cause everybody else on TH-cam like Dom, a professional mixer, mastering guy and several others swear by the MBT even when you own the MBP they all feel adding the MBT works really well with the MBP EXCEPT FOR THAT ONE GUY WHO HAD THE MBP FOR YEARS IS THINKING ABOUT SELLING THE MBP BECAUSE HE SAYS ALL YOU NEED IS THE MBT - I wish I could hear the MBT in person linked up to the MBP so I could really see if it’s worth it or not. Yes there’s times I get great results using mastering plug-ins too for me personally and I know this is an argument that will go onto the end of time lol I always feel Hardware sounds at least 10% better when it comes to hardware versus plug-ins, thank you for your reply

@@LesVegasMusic just to share with you and of course we’re all entitled to agree to disagree and I respect your decision that you made for your own reasons but I spoke to someone who not named for reals is one of the probably top five or six literally legendary mastering people in the world and I asked him if he you know got the MBT and he said he did and he actually likes it for certain things he said the MBP has other advantages over the MBT which I agree but the fact that he likes it I know the gear that he has and he’s created his own original gear as well and he’s got plug-ins for giving his presets to the major companies. I just know I really trust his opinion and advice so Hearing you’re the opposite of what he thinks is really surprising, but I wish you all the best

@@Sunmoonstars1 I take no offense to what you're sharing here and to answer your question more directly, the answer is yes the MBT is worth adding to your MBP as it compliments it very well. That's what it was essentially designed to do and why they look and are named so similarly. They're part of the same family and go together perfectly. Like I said, the MBT is very good, it just wasn't improving my own stuff. I'm certain if I was working on other peoples stuff all the time, I could find some great uses for it. Keep in mind, mixing and mastering engineers are handed work of all sort that may need one thing, but not the other. When you primarily work on your own stuff like me, you end up developing a style and having a process. After trying it on my own stuff, I realized my process already got me everything the MPT was giving me and wasn't enhancing it any further. Again, I'm not saying it's a bad piece of gear. Have you seen these two videos where the guys talk about and demo how they work and sound in conjunction with one another? th-cam.com/video/3lW7e9DJ2x8/w-d-xo.htmlsi=PKKmd9c248tP8KXn&t=236 and th-cam.com/video/sLuKlSpUZe8/w-d-xo.htmlsi=L7KNa72cyqkxwIQk&t=667. Hope that helps. You should just get it and try it out with your MBP. If you don't think it's worth it, send it back. If you end up giving it a try, come back to this comment thread and let me know how it went!

@@LesVegasMusic I just got a great deal on MBT so yeah, I’m gonna try it out and hope everyone’s right that it compliments to MBP because if it doesn’t, I’ll be definitely returning it and I totally feel for where you’re coming from. Everybody’s got their ways, they taste their approach, so it’s all good thank you

@gerdmilano8137 Wow. That's the first time I've heard that. Thanks for your feedback. You must be a total pro.

​@@LesVegasMusic I thought this was about technology, which are originally intended to be tools.So I was not personally attacking you, neither do I require (sarcastic) validation of what I am.or not. These tools have pretty clear use for specific material. If the original material is already very compressed, what is the point? When I have a simple library string sound that is already legato, where in terms of freq and when in terms of time would you require Bricasti's reverberation and diffusion of the device? If you have a piano or a Jazz drum set recorded in a medium sized room, the effectiveness of a Bricasti or Quantec becomes obvious.Not to just a studio "Pro", but to ANY listener. Which is who we make music for, right? How we can hear and identify room informaton and space is not fully explained by science, Yet we all are able to do it. We all know when something sits "right". Adding reverbs to a recording and placing instruments on a soundstage is an art form, and somewhat science, just throwing reverbs on track is totally misleading and see how they sound in solo.... sorry.. it seems to be so besides the point and all about gear acquisition and zero about music.

@gerdmilano8137 where you're right is this video has nothing to do with music. It never claimed to have anything to do with music. It's simply a comparison of a very expensive piece of hardware, to digital plugins that directly emulate the hardware. I make these videos to give people who don't have the hardware, are interested in buying the hardware or who may never have the chance to get their hands on the hardware a chance to hear how it sounds. Then I compare them to more affordable and accessible plugins, so people know what they're gaining or missing by having or not having the expensive hardware. I give people the opportunity to experience both and make their own decisions on which to buy without giving my opinions in the video and instead, engaging in that type of conversation in the comments. I have bone dry examples of the reverb on vocals, acoustic guitar and electric guitar that were all recorded properly. I applied a tasteful amount of reverb to each so we could compare the sound of the reverb produced by the hardware and plugins. I think this video demonstrates that well and allows people to hear what the Bricasti M7 hardware sounds like. That's my goal with this video. If this was a fine art channel, this video is the equivalent of me comparing five red oil paints from five different brands to see which we wanted to buy. I paint five different strokes right next to each other so we can see the difference in the paint. Then you come along and say that the strokes were so badly painted that we can't even see the difference in reds. First of all, I don't care how bad of a painter the guy was, you would still be able to see the difference in reds. And no, the video would have nothing to do about painting, art, or how red paint should be applied in context to a specific element in a completed painting, but it would be very helpful to someone trying to decide which paint they'd like to buy for their own paintings. You just came on here saying that the instruments were so badly recorded, used the word tasteless, and said that I did exactly the opposite of what I should. I don't take that as a personal attack, but it does sound like you're trying to discredit me and this video. Perhaps that wasn't your intention, but that's how you're coming off to me and most likely others.

@@LesVegasMusic I like the example with paint.- but since it is not real instruments going analog to tape, lets use this analogy: You drew smith with Illustrator on a computer screen, then took a picture of that with a Hasselblad. Then you bring up a magic tool for 50$ only that turns the screen contents into a raw image file and let people vote what they prefer. I would laugh it wasn't so many musician souls who already don't make a ton of money are led to spend their dollars on these easy bake oven fake remedies. lmfao Reverbs are tools. For music

@gerdmilano8137 I don't understand what you mean by it is not real instruments going to tape? We have examples of real instruments being recorded straight into Pro Tools here. Your analogy is very bad as it doesn't relate to anything we're talking about. I drew Mr. Smith with Illustrator. Does that equal my friend John singing vocals into the microphone and capturing it in Pro Tools? Does the Hassleblad represent the Bricasti? If so, it shouldn't because we didn't capture anything with the Bricasti and the Hassleblad wouldn't process or add an effect to the picture of the digital illustration. And does the magic $50 tool represent the plugins? Well that doesn't work either because the plugins don't change the file type, in this example, they would be emulating the picture taken by the Hassleblad. It's just a very bad analogy that doesn't work. Any experienced engineer can tell by your comments that you have limited experience using analog hardware or just a poor understanding of how things work at this time. Also, you now sound like you're saying I'm misleading people and encouraging them to spend their money unwisely. What's the easy bake fake remedies in this example? The expensive Bricasti hardware or the low cost plugins?

@markhaliday Yes. Dimension and decay/tails as heard best in the synth examples at 8:22 is where I find the plugins seem to have a hard time matching the hardware.

It's especially a great deal at $47 this week!

@@LesVegasMusic Yeeees! And i picked it up!:) Am really happy with it !

@dimocka79 Alright! Good get! 🙌🏼

@thePunkRockMix same here. It was my first piece of outboard gear. I got mine in 2005. I was 25 years old. I had to sell it because as an aspiring musician and producer, I didn't have any money to pay rent. I also didn't really know what I had at the time or how to use it properly. I actually did just fine with it just by using my ears, but technically, I didn't know much about it and hadn't yet developed an ear for compression. Ever since then, I always wanted another one. When I made this video is when I was finally able to get one again. Thanks to zZounds. I find myself using the 6176 and LA-610 MKII more often than my Neve 1073's, API's and SSL preamps purely based on its versatility and the large, "inflated" sound I can get from it. You know lately, I've actually been using it with a vintage Shure 588SA Hi-Z dynamic mic from the 70's! I bought it for $35 on reverb.com. I'm finding the combination to be great for vintage sounding rock vocals. I just have a lot of fun with it.

@@LesVegasMusic wonderfull :) Ha thats a wonderfull story! thanks for letting me be part of it. I use it exclusivley with a neumann tlm 49 which i also used for electic guitars and the 6176. it really sounds good, everytime I use the box.

@thePunkRockMix I have a pair of the 611's too. They're similar in the way they provide good, clean, solid state EQ. The UV EQ has different color (or lack thereof) that's intended for broad strokes on a stereo bus. The 611's are better on individual channels. I definitely wouldn't use my stereo pair of 611's on a bus. I've tried it. It of course totally works, but it's not the color or character I'd be looking for on a stereo bus.

@@LesVegasMusicgood to know since I was really wondering which one of those two to get for bus processing. thanks!

No, really?!

@@NikolausBrocke yes, Sir. That's why no room size there

the other half is a computer to process it, it matters

@darotm7628 I haven't tried it. Does Altiverb come with Bricasti M7 presets or do you have to load IR's?