June 18, 2015 at 05:00PM

17:50

UAD’s EMT Plate is Basically Magic; Watch Videos Explain Say what you want about what’s real or what’s authentic. The beauty of digital sometimes is that it lets us do things that would otherwise be impossible – or at least far out of our reach. I don’t know about you, but I certainly can’t my hands on an EMT 140 plate reverb. Practical, though, it ain’t: sure, you can covet “analog” gear, but this thing is a physical plate reverberation that’s the size of a car. You know “room” reverbs? This is a reverb that’s the size of a room. It weight 600 pounds. (Not figuratively. I mean it literally weighs over 270 kilos.) Flash back in time to 1957 Germany, and this monster was actually the convenient, compact size – presumably much as our grandchildren will someday laugh that we don’t snort the latest iPhone up our noses. First, let’s look at the historical model: Wall to Wall recordings has a stunning look at the original, explaining how it works: Dan Dietrich (Andrew Bird,Neko Case), Head Engineer at Wall to Wall Recording in Chicago walks us through how the EMT 140 plate reverb works and operated. Topics covered aux sends,how the reverb time is adjusted and the amplification of the signal back to the control room. We get an inside look at one the all-time classic studio effects in existence. This being the Internet, of course there’s a dedicated site showing the history of the EMTs alongside tips on tuning, cleaning, and even shipping these beasts:Dan Alexander Audio: EMT Information Elizabeth McClanahan, who is Assistant Mixer at Heard City, has written a great overview history of the device, and its two best-known emulations – Universal Audio and Audio Ease – for Designing Sound.EMT 140 Plate Reverb The EMT will help you realize your dream to build an army of evil killer saxophonist clones. Into Software Elizabeth is one of a number of people who knows far more about mixing than I do – see also Universal’s glowing reviews from the likes of mastering legend Emily Lazer and Grammy winners Paul Blakemore, engineer, and Buddy Miller, artist/producer. Now, you can learn from the techniques of people like that and apply it to your work. But I enjoy that the sheer convenience of something like the UA and Audio Ease rendition of the EMT in software open it up to creative use and abuse. You don’t need to be accomplished enough to afford studio time and a great mastering engineer. You might just start messing with this thing on places where it shouldn’t go, or on parts that were generated by machines and software. You can, in short, be someone like me (or, maybe you). And I think that’s beautiful: it opens up a signal chain into ehis classic from a source that would never have met it before. I use the EMT 140 on the Universal Audio platform – the Apollo Twin on the go and live and the rack-mount Apollo in the studio (with Benjamin Weiss/Nerk). And it is insanely addictive. I could whip up some demos, but basically listen to almost anything I’ve done lately and odds are you might here it – certainly on our Nerk/Kirn record for Snork Enterprises, which just hit vinyl.
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