The REDD.37-51 still adds plenty of character, but the “crunch” sounds more controlled and somewhat more refined. 2) is the more colorful and heavy-handed of the two-the overdriven, out-of-control sound of Pink Floyd’s Piper at the Gates of Dawn album comes to mind. Sonically, the differences become most apparent by turning up the drive control and really pushing the console. For both strips and both REDD.37-51 modes, the high cut shelf frequency is 10 kHz. The low shelving is the same (boost/cut at 100 Hz), but the Pop option modifies the high-frequency boost to a bell curve at 5 kHz instead of a shelf. Also, the tone control supplements the REDD.17’s high-frequency shelving controls with Pop or Classic modes. 1) offers a choice between the REDD.17/REDD.37 preamps or the lower-distortion, higher-headroom preamps used in the REDD.51. In both REDDs the controls are similar, though the REDD.37-51 (Fig. We first need to distinguish between the REDD.17 and the REDD.37-51 as they actually have quite a difference in tone. But dissecting the REDD and TG channel strips actually reveals as many similarities as differences. So, you might think the difference between them is simple: tube warmth vs. The REDD.17 and later REDD.37-51 consoles were born in a world of limited channels and tube-driven audio, while the TG12345 was created during the transition to multiple tracks and solid-state electronics.
The consoles, developed by EMI’s Record Engineering Development Department, were known for their distinctive sound quality and minimalist functionality. REDD and EMI TG12345 are channel strips based on the Abbey Road consoles through which some classic albums, most notably by the Beatles and Pink Floyd, were mixed. Learn what they sound like, the differences between them, and how each can contribute differently to your mixes. I'm open to being wrong about that, I just know how frustrating it already is to learn your own setup, let alone adding a fake environment on top of that.The classic consoles on which these plugins are modeled were the centerpieces of Abbey Road’s music revolution in the ‘60s and ‘70s.
It has a cool GUI and I get the concept but it seems like it would make things worse easier than it would help. This kind of thing may be useful to very experienced mixers who know very precisely why they need this, but to anyone without enough experience on your own mixes, your own speakers and room and how those are translating to other playback systems, this will make things far worse and frustrate the heck out of you because it's a very arbitrary and unusual playback circumstance. It kind of defeats it's own purpose when you think about it, since you should be spending that time getting more familiar with your own room and speakers and how they translate! Otherwise, it's like saying, "hey let's put some arbitrary EQ and a room/ambience that you have no prior references to on your mix bus and see what you think of it." It's no relation to anything unless you know those speakers, the room and everything else in the setup of the plugin. Click to expand.The only way this would work is if a) your headphones are perfectly matched to what they have before the plugin starts to affect them since the results would be skewed horribly and b) you run a ton of reference material through the plugin first and become as familiar with it as you are with your own monitors.
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