ADT2Demo is a universal binary AU plugin to do Automatic Double Tracking- aka fixed flanging/chorusing, as used by the Beatles. Two independent delay taps for normal or inverted ADT, code from Console2 gives you analog-like richness and tone.
As you probably know, ADT is simply a single delay tap, very quick. What makes my ADT special is several things- one, you have two taps to play with independently. Two, you can add them either in-phase or inverted- which means you can do that David Bowie ‘Young Americans’ vocal tone, originally done with two mics and one of them out of phase, but in a plugin after the fact. And three, the delay time is interpolated- you’re not stuck with discrete samples, and that means you can adjust the timing more finely, dialing in just the right cancellation or reinforcement at a certain frequency. You can’t really have ADT without having that, as the real ADT is analog and doesn’t get quantized to particular samples. Neither does mine!
ADT2 changed over to using the full 32-bit floating point buss for its delays: the original ADT from 2007 was using an internal fixed point buss.
But most importantly, the new version of this plugin uses the technology found in Console2 to produce a huge depth and space to the effect which you won’t get with a straight-up digital delay! And it’s self-contained so you can use it in any sort of mix you like, not just one with Airwindows summing. You can try the demo for a quick listen to how this plugin sounds, and compare it to a regular DAW slapback. The ‘Headroom’ control lets you saturate the effect for more intensity, or clean it up.
ADT2 is $50.
Flanger2 was the first freebie to use the concepts introduced in Console. It’s the Flanger plugin, but with enhanced depth and spatiality to the sound. You can do both jet-fighter ‘center cancel’ flange and fat additive flange, and you can get audio-frequency sweep rates- plus, it can work as its own kind of distorter.
Flanger2 runs 140 samples of latency.
ConsoleDemo was a huge innovation. Before this set of plugins, all my attempts to bring analog flavor to the digital buss were forms of coloration or saturation. The full spiel here can be found at the entry for Console2, where you can find the link to buy it: here, I’ll just talk about what changed and how it started.
One interesting thing about Console is that it’s incredibly simple. The encoding plugin, ConsoleChannel, is strikingly simple and the decode plugin, ConsoleBuss isn’t much more complicated. This helped me get richness of tone through not over-processing.
The other thing about Console of course is that it confuses everybody ;) however, it shouldn’t, because you can manipulate it and it’ll still work if not set up perfectly. The basic idea is that you should have ConsoleChannel on all channels, POST-fader if you can, and ConsoleBuss first on the 2-buss. It matches up in that way so that the individual sounds are as near to unprocessed as you can get. All the special ways to use Console are just manipulating what’s ‘inside’ this special summing buss (produced by the combination of the encode/decode plugin) and what’s outside.
Console lends itself to template use: you can set up a template with Console all pre-installed and just go. Since there are no controls on either Console plugin (another thing that confuses people) there’s nothing to fiddle with.
If you’d like the original Console, buy Console2 and ask for the original by email. I’ll send it.
