![]() ![]() Given the fiery name, I imagine this was part of the design brief for Volcano. One thing I did notice early on is that the distortion/overdrive part of the filter kicks in at quite a low input level, meaning that if you are looking for clean filtering or just a little 'edge' you really do have to be careful about your input levels. ![]() I compared them to some of my other favourite filter plug‑ins: on some sources the differences were clear, but on others I wouldn't have been able to decide between them. There's no description of the technical differences between these, but they do provide a number of variations in tone, and these are fundamentally good‑sounding filters, whatever option you choose. As well as having low‑pass, high‑pass and band‑pass types and selectable slopes of 12, 24 and 48 dB/octave, you have the choice of 11 different 'characters': FabFilter One, Smooth, Raw, Hard, Hollow, Extreme, Gentle, Tube, Metal, Easy Going and Clean. All three are heavily based upon FabFilter's, er, filters - and their highly flexible modulation architecture - but used in different ways.įabFilter are clearly proud of said filters, given that they named the company after them! And perhaps they have reason to be proud, given the extremely flexible nature of the filters in question. Timeless 2 is a tape‑delay emulation, Twin 2 is their take on a virtual analogue synth, and Volcano 2 is a powerful multi‑mode filter. I can get to -11LU and still sound natural with the above combined serial and parallel processing.The extensive modulation options available in all the FabFilter plug‑ins are augmented in Twin 2 by X‑Y pads.įabFilter's powerful plug‑in suite brings us advanced modulation possibilities, filters with multiple personalities, and plenty of overdrive.įabFilter's Creative range comprises three plug‑ins. I can bounce out a loud, yet natural and dynamic pro sounding VO in minutes. This setup is all calibrated and comes in via a template. Nugen ISL2: Final level push and TruePeak control (usually set to ~+8 gain in my calibrated setup, shaving off a dB or two max of the peaks).FabFilter De-esser (it's always recommended to de-ess twice and with different processors that approach de-essing differently).Motown Exciting Compressor (only if required): Comprises of a smashed to h*ll UAD Zener into a UAD Curve Bender pushing up a s*it load of 6.5kHz).UAD 1176LN: Set to the Bones Howe settings (12:1, 5-7GR).UAD VOG on standby if needed for that "radio voice FX" (I don't use it much as if you want THAT sound you'd better get THAT voice right off the voice actor).UAD Maag EQ4: 160 and 650Hz set to the voice and some Air Band as needed.The compressor is set to ~1.5:1 and the 1st LED only "lights up" on the loudest intonations. UAD SSL E Channel Strip: Black EQ for 2x corrective EQ points (usually for low room-tone resonance and nasal/boxy tone), HPF and a little presence on the HF bell.UAD 1176AE (set to 2:1 and slow 1-3dB of GR).iZotope RX8 Voice Denoise (via RX8 advanced standalone app).iZotope RX8 De-Click (for mouth smacks).NuGen LMCorrect2: Once the VO comp is complete, the audio is "normalized" to -24LU as my whole chain is calibrated to receive audio at this level.UAD now has the C-Vox plugin for noise reduction, which is great, and hopefully they will expand to de-smack/click as well. You need a good noise reduction suite, like RX8 for room-tone reduction, smacks and clicks and possibly plosives depending on your mic placement and acting skills. Thus I'd say that LUNA is not missing anything for VO recording besides a built in LU meter (which is not really necessary). VO recording and producing can literally be done in any DAW as it's all about the voice and the voice actor's performance, then mic placement and mic choice. I do a lot of VO recording, and VO post-prod for actors so that they sound as good as possible for auditions et al. ![]()
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