Soundtoys Little Plate on Vocals and Synths in a Mix [Free Plugin]

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Soundtoys Little Plate on Vocals and Synths in a Mix [Free Plugin]

Hi, I’m Ian Vargo of The Pro Audio Files and
masteringinthebox.com.

SoundToys has released a new plugin.

It’s called “Little Plate,” and it’s an
emulation of the classic EMT 140 plate reverb

unit.

As is tradition at SoundToys, they love creating
tools that can help you push sonic boundaries,

and we see this reflected in several of the
plugin’s features, and I’ll be covering them.

The track I’m using is called “Miss Polyester”
by the band, Pushing Static.

I’m still mixing it, so it’s not yet released,
but keep an eye out for it.

So let’s dig a little bit deeper, take a look
at this Pro Tools session, and I will show

you how I’m using Little Plate in the mix.

So let’s have a listen to this track.

It’s heavily influenced by the 1980’s with
a lot of synthesizers.

What we’re going to hear is a lead vocal that’s
already been processed with a delay via EchoBoy

and some saturation via Decapitator, and I
like where it’s sitting in the mix.

And then we’re going to hear these backup
vocals that sound really close to the listener.

I like the tone of the backup vocals, but
they’re just not sitting in the right space,

so my hope is that I can use Little Plate
to accomplish some unique things.

So let’s listen without Little Plate on the
backup vocals.

[mix]

So to reiterate, I’m happy with the tone of
the vocals, I’m just not happy with the space

in which they sit.

So let’s use Little Plate to fix that.

As we see, I’ve got these four backup vocal
tracks being hard sent to this aux.

We have some processing on this aux, and then
this is sent to a Little Plate auxiliary track.

The first thing I noticed about the user interface
is that we have a big fat knob sitting in

the middle of it.

I think this is great design, and I will talk
about why.

You’ll see why eventually.

Let’s have a listen to the vocals out of context
with Little Plate.

[vocals with Little Plate]

So we hear a really rich, warm tone.

Just stock, immediately inserted, it sounds
good, and that’s always a good sign.

Some of the features — we have a dry/wet
mix, which is always great.

In this case, I’m going to keep it all the
way wet.

We have a low cut.

I’m going to use a little bit of this.

It goes between 20Hz to 1kHz.

Let’s go to about here.

We also have this Mod modulation switch.

Adds a very subtle chorus-y effect to the
reverb, and then this big old knob here we

can go between half a second to literally
infinity.

So it’s a lot of fun.

What I’m going to do before I start messing
around is make it so I can automate all of

these features.

Okay?

And we’re going to go into Write mode, and
I’m sort of just going to play with Little

Plate like a little performance.

[mix]

So I’ve switched back over to Read mode, and
let’s solo these backup vocals and Little

Plate to hear what I did, and you will also
be able to see the performance on the user

interface.

[backup vocals with Little Plate]

What a beautiful tail.

This adds an extra layer of performance to
what was already a pretty cool sounding track.

Sometimes, when you have a lead singer and
backup vocals that are literally the same

person, you’re going to have trouble making
them sound like they’re in the correct space,

because it’s all the same person.

Little tips like this can really help.

We’ve got a lead singer that’s being processed
one way, and we have backup vocals that sound

nothing at all alike.

So what I’ve done is just take advantage of
the really nice, warm sounding decay of Little

Plate.

If you listen to the backup vocals, they do
have some harshness and a lot of sibilance

going on.

The fact that it’s already a warm sounding
plugin the second you load it really helps

not make those esses sound too harsh, and
so what I’ve done to fill in the space between

when the backup vocals go away and when they
come back, I’m using a long decay time.

I think it’s just a cool little production
technique.

I might do something like volume automate
down Little Plate, just because I don’t want

all of that space taken up, but it just adds
some ear candy.

I have probably half a dozen great plate emulation
plugins, but this is the first one that I’ve

seen that has this giant knob sitting in the
middle.

Had I not seen this, I might not have gotten
the inspiration to experiment with the decay

time, and this technique would not have come
about, so great job on the design, SoundToys,

as usual.

Next, I’m going to use Little Plate on a synthesizer
track, not only to alter the space in which

the synthesizer sits, but also the tone of
it.

Let’s solo out this synth and take a listen.

[synth]

So my issue here is that it just pokes out
a little bit.

There’s a lot of high frequency content, and
I’m going to put Little Plate directly as

an insert on this audio track, and I’ve already
dialed in my setting, just to show you I’ve

got a little bit of a low cut, and I’m using
the dry/wet blend.

I do want some of the original brightness
to shine through, but this will just dull

it out ever so slightly, and I’m going to
turn on the Mod and a good decay time of 3.5

to 4 seconds should suffice.

Let’s have a listen now.

Let’s solo it first.

[synth with Little Plate]

And that decay time is just perfect so it
fades out right before the next part of the

song comes in.

So I gotta say, really impressed with how
simple this plugin is, but also the usability

of it, and of course, the sound.

So make sure to check out Little Plate by
SoundToys.

This has been Ian Vargo of The Pro Audio Files
and masteringinthebox.com.

See you guys soon, bye!

Soundtoys Little Plate on Vocals and Synths in a Mix [Free Plugin]

A video demonstrating the new Soundtoys Little Plate plugin on vocals and synths // Mastering in the Box: http://masteringinthebox.com // Mixing with Reverb: http://mixingwithreverb.com // Get Little Plate FREE through 11/22: http://www.soundtoys.com/product/little-plate

About Soundtoys Little Plate:

The unmistakable plate reverb sound – warm, rich and spacious – is now at your fingertips.

Inspired by the original EMT 140 plate reverb, we captured the gorgeous sound and vibe of this studio classic and turned it into a fun and musically inspiring plug-in. And we couldn’t resist pushing the limits of reality, so we added a couple of fun twists that let you take Little Plate to spaces the original hardware only dreamed of.

** Simple Control, Infinite Possibilities **

Once we recreated the iconic 140 sound, we couldn’t resist going even further.

While the original reverb could only muster a modest five seconds of reverberation time, we pushed that number higher. A lot higher. With Decay Time set to infinity, Little Plate’s reverb tails never fade away.

** Cut the Clutter **

Keep your reverb and your mixes clean with the built-in Low Cut filter.

Sometimes the low frequency build-up in reverbs can get a little out of control. Use the Low Cut control to tame those boomy bass frequencies.

** Space Modulator **

Flip the Mod switch to introduce slight modulation into the reverb tail.

These subtle and chaotic variations can result in a thicker and smoother sound, especially at long decay times on pitched instruments like keys, guitar, and voice.

** Heavy Vibes **

At Soundtoys, we’ve got a reputation for obsessing over legendary hardware. But when we decided to build our first reverb plug-in, we went farther than ever before. We collected five EMT 140s from around the country and gathered them in our lab.

We tuned them up. We teched them out. We went to the chiropractor (that’s one and a half tons of plate reverb). Then we took our time listening and testing, zeroing in on a sound that we think captures the classic EMT 140 vibe. Warm, rich, spacious and slightly dark, Little Plate packs the essence of plate reverb into one little plug-in that won’t break your back.

** A Little Plate History **

The EMT 140 uses a magnetic transducer to vibrate a massive sheet of metal, sending the result back to the engineer via a pickup that captures the resulting reverberation.

The EMT 140 was introduced in 1957 and was capable of dense and smooth reverberation unlike anything the world had heard. While it doesn’t exactly sound like a real room, it has a beauty of its own, which is why plate reverb is still such a sought-after sound even many decades later. 140s are getting hard to find though, and replacement parts even harder. Not to mention their sheer size and weight keep them out of reach of the average studio.

** Little Plate Highlights **

– Add the sound of vintage plate reverb to your tracks

– Push beyond the limits of the hardware with extended reverb decay time

– Create infinite reverb effects that never decay

– Optional modulation for natural-sounding variation in the reverb tail

– Low Cut filter to tame low frequency build-up

– 25 distinct presets to quickly dial in a sound

About The Pro Audio Files

Tutorials on mixing, mastering and producing music in Pro Tools with plugins from Waves, FabFilter, SoundToys, Softube, Sonnox, PSP, Slate Digital and more. Learn how to mix using EQ, compression and effects like reverb, delay, saturation and distortion on vocals, drums, guitar, bass and more.

Soundtoys Little Plate on Vocals and Synths in a Mix [Free Plugin]

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