Let’s face it, with the convenience and quality of modern DAWS , plug ins, and virtual instruments, it’s hard to justify spending a fortune on physical analog gear. Digital (computer) processing has become so good that using the right plug ins and techniques, can yield a surprising (and convincing) analog sound . I’m going to show you just a few ways to bring the pleasing qualities of analog in that sterile digital recording.
Adding Warmth: Analog Modeling plug-ins, EQ, De-essing
One way to add warmth to your digital sounds is running them through some analog modeling plug ins. Instead of grabbing that stock Pro Tools compressor, try using plug ins like the CLA2A from Waves (modeled after the infamous LA2A compressor), or the SSL bus compressor. You’ll find these compressors will react a little differently than a stock digital compressor, and tend to have more coloration, more natural saturation, and a bit more noise (all characteristic of analog) to add to the signal. For EQ, Waves also offers an API parametric EQ modeled after the modules in their analog consoles that sound great. Actual analog EQ will add harmonic distortion (more on this later) simply because they are slightly non linear, where digital EQ can introduce harmonics not related to the fundamental which sound unnatural when pushed hard. But you’ll notice when using the digital versions of the EQ, in particular the API EQ, that they took the non linear harmonic distortion of the actual unit into consideration when designing it, and as a result more closely resembles an “analog” sound. Another simple way to warm up a track is by subtractively EQing some high end content . Rolling off, or reducing some unwanted highs (specifically the harsh 4khz -8khz range), can add a smoothness to your track that analog processing naturally gives. Also , experiment with de-essing things other than vocals such as cymbals, guitars (renaissance de-esser works great) to have a similar smoothing effect. Take some time, learn the characteristics of each plug in. You will be able to utilize and control them much more when you do.
Adding Harmonics: Harmonic Distortion, Emulated Tape Saturation
A common problem with digital sounds , is that they sometimes lack harmonics that analog naturally adds from it’s physical circuity. Even simply running a sound through an analog console will add pleasing harmonics related to the fundamental pitch by the time it reaches the end of the circuit. There are a couple ways to add harmonics to a track in the digital domain. A go to plug in I use to add a bit of harmonics or grit is the Lo Fi by Waves. Even with just a small amount of the saturation or distortion or bit/sample rate reduction , you can introduce new harmonics to give the sound a ton more analog character. Another favorite of mine is the Kramer Tape emulation. Achieving a similar sound as the Lo Fi, in a slightly different way (tape compression, instead of bit and sample rate reduction), you can add tons of warm harmonics that a real tape machine would reproduce. Adding harmonics in this way can also be referred to as adding distortion to the signal. Some people think of distortion as a negative thing in audio (especially in the digital domain), but when used subtly can not only make the sound more rich and pleasing to the ears, but it can increase the subjective loudness of it as well (by shifting the perceived frequencies closer to our sensitive hearing range). …So if you want to make your mixes appear louder…hint hint.
Increasing Noise: Raising the Noisefloor
In a modern digital system the noisefloor is pretty much close to complete silence. This can be looked at as a good thing if you want crystal clean sounds, but one of the pleasing qualities of analog is that it is not clean but in fact a little dirty. So bring up a sample or generate a sound of white noise, vinyl noise, or background hum, and put it in the background of the song so that it is just barely audible. The way I usually add noise is through a free plug in by iZotope called Vinyl. Just put vinyl on a separate track (so you can have better control over it), increase the “mechanical noise”, roll off some of the low frequencies with an EQ, and have it sit quietly in the background. Aside from the noise sounding aesthetically pleasing, and adding to the overall harmonic content of a song (increasing subjective fullness), it also fills in gaps of a song that cut out to silence (drops, breaks). Hearing complete silence in a digital domain really just tends to sound strange to our ears, especially after or before a full spectrum of sound. This weirdness is most noticed on headphones where your ears are blocked off from outside noise (giving the impression that for a split second you think your wearing ear plugs!) We like a noise floor and hear it every second of every day. It not only adds an analog quality, but it also adds a very desirable human element.
These are the basics of how to make your digital tracks sound more analog using digital plug ins. There are even more things you can do (adding tape wow and flutter in some cases for example), but these are good starting points to bring a little more analog flavor into your digital tracks. Play around with the different combinations, listen to analog recordings, and try to mimic them, you’ll find that you had the tools to do it this whole time.
Dan Zorn, Engineer
Studio 11 Chicago
For rates on recording, mixing, or mastering or for general questions please send us email at Studio11chicago@gmail.com , or contact us directly at (312) 372-4460.