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At its minimum value of -10, the Drive Character becomes noticeably dark and low-end focused, with a vibe reminiscent of a well-worn piece of analog gear.
#Can not find softube vst after install manual
The Drive Character control, while stellar, is a bit unintuitive: the default position is "0", but the manual notes that it should actually be turned to 10 (it's maximum value) to most accurately model the hardware's saturation tone. The Output section's Drive and Drive Character controls were similarly a pleasant surprise. Using just a bit of the Punch control, adding some EQ, and smashing it all with some aggressive parallel compression is a winning formula for both single drum sounds and busses with the Class A, and one I'm turning to more often than not. I've tried a lot of transient enhancers over the years, and this one is shockingly good-and, much like the rest of the channel strip, it is quite aggressive. While I expected Softube to bring their A game with the plugin's Compressor and EQ, I was actually most impressed with (and surprised by) the Shape section, which offers a gate and transient controls. Much like the compressor, however, I didn't find myself using the gain multiplier often, as so much of the fun with this plugin is firing it up on sounds and busses that really need some life, and letting it do it's work at more aggressive settings. 25x gain multiplier, for example, changes the first-step gain from 2dB+- to. Although there's no denying the forward nature of this fixed-step EQ, Softube has cleverly added gain multiplier buttons which turn the EQ's aggressiveness down substantially using the. Much like API's hardware EQ's, this is not a wishy-washy 'I'm not sure if this really sounds different' EQ it is in-your-face and capable of turning lifeless material into something much more polished. Much like the compressor, this is an EQ capable of radically reshaping sounds even at moderate gain settings-it is by no means gentle.
The compressor isn't the only standout here: similarly, the EQ is absolutely phenomenal, with every bit of the massive low end, forward midrange, and brilliant (but not sibilant or harsh) high-end API is known for. While I found this less troublesome than most compressors that lack an HPF sidechain, I do hope Softube adds this in a future update. One major omission here: there is no internal HPF sidechain for the compressor's detection circuit, which is unfortunate for those of us working with 808's and bass-heavy material.
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Softube was wise to add the parallel blend knob here, as it makes this aggressive, forward compressor much more usable for less extreme compression tasks. In this review we'll take a deep dive into the Class A plugin, which in my testing became one of my most frequently used plugins and one I'm grateful to have in my arsenal.Ĭlass A offers both feed-forward and feedback compression models, which both sound phenomenal feed-forward is great for clean, predictable compression (think busses and groups), while feedback mode is a bit more aggressive and fun to experiment with, often giving great results on drums, synths, vocals, and individual sounds. Softube, who's top-notch analog modeling work has earned our praise in several previous reviews, is the latest developer to offer their take on the legendary API sound with their new channel strip, Softube American Class A. Thankfully, over the past year or two, we've seen more developers focusing on the API sound as the SSL marketplace becomes increasingly oversaturated. Originally known as more 'rock-oriented' consoles, API gear is known for its uniquely mid-forward sound and incredibly punchy compression capabilities, along with low-band EQ's that can produce earth-shaking bass without muddiness or unwanted rumble. While the SSL sound is absolutely deserving of its reputation, the almost obsessive focus on modeling one particular brand has, in my opinion, caused many producers and engineers to lose sight of the brilliant work done by the designers at API.