Hi everyone! This is Jooyoung Kim, a mixing engineer and music producer.
Today, I want to talk about modulation effects, which are often overlooked during mixing.
(These concepts are based on my book Basics of Mixing, published in Korea.)
What are Modulation Effects?
In simple terms, modulation effects involve changing certain parameters over time.
Do you frequently use modulation effects when composing or mixing?
Do you ever have tools like these but rarely touch them?
I believe modulation effects, along with reverb and delay, are crucial in determining the quality of a track. However, even if you understand the theory behind these effects, you might hesitate to use them if you’re unfamiliar with how they sound in practice.
That’s why I encourage you to experiment with modulation effects regularly, even if it feels forced at first.
Types of Modulation Effects
Let’s break down some common modulation effects:
Tremolo
Vibrato
Flanger
Phaser
Chorus
Before diving into these, we need to discuss two foundational concepts: the All-Pass Filter and the Comb Filtering Effect.
All-Pass Filter
An all-pass filter allows all frequencies to pass through unchanged. But why would we use such a filter?
The answer lies in phase.
When a signal passes through an all-pass filter, the phase shifts depending on the frequency. Combining this filtered signal with the original creates unique sounds due to constructive and destructive interference at different frequencies.
For more details on phase and interference, check out “Basics of Mixing – 2.2 Phase and Interference.”
Comb Filtering Effect
The comb filtering effect occurs when an original signal is combined with a delayed version of itself. This results in a frequency response that looks like the teeth of a comb.
It’s easy to understand this concept through simple experiments.
When every frequency in a signal is delayed by the same amount, some frequencies cancel out (destructive interference), while others amplify (constructive interference). This creates the characteristic comb-like frequency response.
Effects like flanger, phaser, and chorus are built on these principles of phase manipulation.
That’s all for now! In the next post, I’ll delve deeper into each modulation effect.
Hello, this is Jooyoung Kim, a mixing engineer and music producer!
I always tell my fellow music creators never to overlook hi-fi products.
The term “hi-fi” itself is short for “high fidelity,” meaning playback that is as true to the original sound as possible, without distortion.
Among hi-fi manufacturers, there are many companies with advanced technology that deliver excellent measurements. Working with such devices can be highly beneficial.
All passive speakers, rarely seen in professional audio environments!
I also work in this kind of environment.
However, since anechoic chamber measurements provided by companies don’t tell the whole story, it’s crucial to assess how the devices sound in real working environments and how the sound changes depending on the listener’s position.
With that preamble, let’s dive into my experience at the Audio Expo Seoul, which runs from yesterday through tomorrow. Here’s my review after my visit.
Venue
The event took place on the 30th to 32nd floors of Novotel Ambassador Yongsan and the 2nd floor of Yongsan Electronics Market.
Attendees could check in and receive wristbands at the 1st-floor lobby of Novotel Ambassador.
I explored the exhibits in the recommended order: 32nd floor → 31st floor → 30th floor → Yongsan Electronics Market 2nd floor.
Dynaudio Contour Legacy
First up was Dynaudio’s Contour Legacy, a well-known name even in the pro-audio industry.
It was impressive. I’d love to test it in a more controlled listening environment.
Avantgarde Colibri C2
This was one I’d been eager to hear. However, in the hotel room setup, midrange resonances were quite noticeable.
I switched positions to see if it was a placement issue, but my impression remained the same.
ub+ dB1
At first glance, I thought it was a new release from Devialet, but it turned out to be another brand.
Its sound was decent for the price, and the design was intriguing enough to spark some buying interest. If I recall correctly, the pair was around ₩900,000.
Harbeth Super HL5 plus XD
I finally got to experience Harbeth. It reminded me a bit of ATC in terms of sound character.
Monitor Audio Gold 100 6G
Monitor Audio is known for producing excellent measurements. This model felt somewhat restrained, which might make it suitable for certain types of studio work.
Focal Diva Utopia
Focal is another brand known for its professional audio monitors. While solid, it wasn’t to my taste this time.
Piega COAX 811
Piega’s coaxial ribbon design intrigued me, but the midrange resonance was noticeable—perhaps due to the room acoustics.
Tannoy Kensington GR, Classic Gold
Classic Tannoy sound—impressive as always. It made me consider its potential for studio use.
Wharfedale
Great value for money. While not mind-blowing, the quality was solid for the price point.
Marten Mingus Septet
Visually stunning, though the listening experience didn’t fully convince me.
Audio Physic
Although I don’t recall which model I listened to, it left a positive impression.
Genelec
Genelec, a staple for many engineers, had a setup with coaxial speakers and subwoofers. Unfortunately, the playback was marred by distortion, likely from the LP source.
JBL L100 Classic mk2
Solid, dependable sound, living up to expectations.
Revival Audio Sprint
A standout for me. I could see myself using it in a studio setting. The price was also quite reasonable.
YG Acoustics Hailey
A solid performer with tight, well-defined low frequencies.
Avalon PM 3.2
The most impressive speaker I heard at the expo. Its tight bass and wide frequency range were perfect for modern music production.
B&W 801D4
Sadly, the LP setup held back this speaker’s potential. I’d love to hear it in a better environment.
Overall Highlights
My top picks from the expo:
Dynaudio
Tannoy
Audio Physic
Revival Audio
Avalon
The Revival Audio models particularly stood out for their affordability and performance.
Attending events like this is refreshing for both the mind and soul. That’s all for now—see you in the next post!
(Disclaimer: I received the product from Plugin Boutique in NFR (Not for Resale) format. If you make a purchase through the links provided, I’ll receive a small commission, which greatly helps me keep my head above water… Thanks for your support!)
Shall we dive in?
Leapwing Audio’s Center One is, as the name suggests, a plugin that separates the center and side channels.
When it comes to MS (Mid/Side) separation tools, some popular alternatives to Center One include:
Waves S1 MS Matrix
Goodhertz Midside Matrix
The Waves plugin differs slightly in that it converts Mid and Side into Left and Right channels. As for Goodhertz, it’s an excellent tool, but since it’s free, it lacks some of the more detailed control features, which can be a bit limiting.
However, Center One goes beyond simple M/S separation—it can divide audio into L/C/R (Left, Center, Right).
Additionally, before splitting the center channel, you can adjust the Pan Law to modify the presence of the phantom center.
You can also customize the stereo width of the center channel, and…
…apply filters specifically to the center portion.
The interface is intuitive and simple, yet the plugin is incredibly well-designed.
After trying it out on one of my tracks, I was impressed by its solid foundational performance. This is also evident in the official demo video:
(It’s just over a minute long, so I recommend giving it a quick watch!)
Center One seems particularly useful for mastering or when dealing with dense multi-instrument tracks. It could also work well for live recordings, 2-track recordings, and even remastering projects.
Though it’s a bit pricey, there aren’t many plugins out there that can fully replicate its functions. If you’ve been waiting for a good deal, now’s the time to grab it!
This month, Plugin Boutique is offering a free bonus with every purchase: choose from UJAM VICE, Native Instruments Monark, or Mastering the Mix Advanced Mastering Course.
You’ll get one freebie per purchase, so if you plan on buying multiple items, I recommend splitting them into separate transactions to maximize the freebies.
Hello, I’m Jooyoung Kim, a mixing engineer and music producer!
Today, I’ll be discussing a product I’ve owned for some time—this post is not sponsored. However, I was asked by Plugin Boutique to introduce the UAD 1176 Collection.
The links provided direct to Plugin Boutique, and if you make a purchase through them, I’ll receive a small commission, which is a huge help in supporting my work. 😊
While preparing this post, I realized I’ve never delved into the history of the 1176 compressor on my blog. So, let’s take a journey through its legacy! (Historical references are drawn from the UA website, the UAD 1176 manual, and my book The Basics of Mixing.)
Before the 1176, there were the 175B and 176 tube-based compressors.
175B: A fixed ratio limiter with a 12:1 ratio.
176: Offered selectable ratios of 2:1, 4:1, 8:1, and 12:1.
With the advent of transistors, most tube circuits transitioned to transistor-based designs. The 1176 emerged during this transitional period, replacing the 175B and 176’s tube circuits with FET (Field Effect Transistor) technology. Notably, it features an ultra-fast attack time (20–800 μs).
Since its initial release, the 1176 has evolved through 11 versions: A, AB, B, C, D, E, F, G, H, LN (Low Noise), and AE (Anniversary Edition).
We can categorize these versions into four groups:
A, AB, B, AE
C, D, E, LN
F, G
H
(Fun fact: The LN and AE versions were developed after Universal Audio’s revival under the founder’s son.)
1176 Rev A, Rev AB, Rev B, AE (Anniversary Edition)
Rev A, AB, and B have the same external design.
The 2008 Anniversary Edition of the 1176
These versions are known for their aggressive sound, distortion, and higher noise levels. Key characteristics include:
Rev A: The original 1176, often referred to as the “Blue Stripe.” Features a Class A circuit.
Rev AB & Rev B: Improved versions of Rev A with slight modifications, retaining the Class A circuit.
AE (Anniversary Edition): A modern recreation of the classic 1176 sound, combining the sonic character of the A/B versions with LN’s low-noise design.
The AE version plugin offers unique features, such as a 2:1 ratio instead of the usual 12:1. It also includes a slow attack mode (10 ms), the slowest in the 1176 series.
The plugin emphasizes low-end frequencies and adds significant harmonic saturation, making it a great alternative to Rev A for saturation.
1176 Rev C, Rev D, Rev E, LN
1176 Rev E
The modern reissue of 1176LN
These versions introduced a blackface design. The biggest change was adding a low-noise (LN) circuit. Rev D also marked the branding transition to “Urei.”
The current reissue, 1176LN, is still available as hardware.
Compared to earlier versions, these are more controlled and less aggressive.
UAD recreated the 1176LN Rev E as a plugin. Frequency response tests show that it’s less excitable in the high frequencies compared to Rev A, even at high input levels.
For harmonic content, it’s somewhat similar to Rev A but serves a different purpose. I use it when I don’t need the intense vibe of Rev A or the smoothness of LA-2A. It occupies a unique sonic space that occasionally fits perfectly.
1176 Rev F, Rev G
1176 Rev F
Rev F switched to a Class A/B circuit, differing significantly from earlier models. The output preamp changed from 1108 to 1109 for increased output. Rev G replaced the input transformer.
1176 Rev H
1176 Rev H
The final version before discontinuation, Rev H, featured a new design but retained the core sound.
“All Button Mode”
One iconic feature of the 1176 is the “All Button Mode,” where all ratio buttons are engaged simultaneously. This creates a unique and highly distorted sound engineers love for parallel processing. I use it sparingly to add saturation while emphasizing key elements.
The plugin collection, including Rev A, AE, and Rev E, is currently available on Plugin Boutique for $31.90 during the Black Friday sale.
As someone who’s invested heavily in UAD plugins and hardware like UA Satellite and Apollo interfaces, seeing these discounts is bittersweet. 😅
Plugin Boutique also offers a free plugin with every purchase—this month’s options include Ujam’s Beatmaker VICE, Native Instruments’ Monark, or a mastering tutorial.
Don’t miss out! Hope you found this post helpful, and I’ll see you in the next one.
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