Once the mics are positioned, all the tone and volume changes can be made in a relatively low-noise control-room environment.īesides being a lot easier on the ears, tones and playing performances can be assessed in the context of the track while listening through studio monitors. When your correspondent was working full-time as a studio engineer, the favoured practice when recording high-power Marshalls was to keep the head in the control room and run speaker wires through to the live room via tie lines. Then you can try adjusting the presets before creating and storing your own. Start by loading up the excellent Tony Platt-created presets – if only to alert you to the possibilities. When you factor in the mic’ing options and desk-style EQ, the power of this DSP is astonishing. Even the dynamics and the clean-up responses are eerily reminiscent of the real thing.
The whole experience is uncannily lifelike, with the plug-ins capturing that glassy dirty clean and throaty roaring overdrive as well as all points in between. Happily, this fact hasn’t escaped Universal Audio – the tonal range is so extraordinary that if you have a Marshall tone in mind, then one of these plug-ins is pretty much guaranteed to deliver it. The Marshall amps are located in the guitar and bass section and we start working our way through the plug-ins.ĭespite their rockin’ reputation, Marshalls of every era are often overlooked for their versatility. With the Console app launched, the Apollo 8 automatically detects which input is being used and that channel defaults to Hi-Z.įrom there, we adjust the channel’s input gain to achieve a healthy level without clipping and click on the Unison box to open the plug-in menu. Plug-in-specific features include global low- and high-frequency adjustment on the Super Lead model and an input noise gate on the Jubilee.įor testing, we use an Apollo 8 Quad and once it’s powered up with its audio outputs routed through our monitors, it’s simply a case of plugging a guitar into one of the two Hi-Z instrument inputs on the front panel. All three plug-ins allow you to select dynamic mics, as well as FET and valve condensers and each one has a master-output level control that operates post faders. For each of the plug-ins, the room microphone models are pre-selected – a Coles 4038 ribbon and ELA M 251 for the Bluesbreaker, a C12 for the Super Lead and for the Silver Jubilee, a 4038 combined with an RNR, which can be routed through a delay effect with a feedback control and a range from 0ms to 300ms.Įach channel can be activated and panned individually and the choice of close proximity microphone models is extensive.
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