It’s worth noting that you can use the Drive control even with the EQ flat, which is useful as a subtle enhancement technique in its own right, or alternatively, switch the various Drive characteristics between the different units (so that the Neve’s ‘Drive’ is paired with the API Graphic, for example). In practical terms, the Drive control adds a small amount of ‘sizzle’ to the output, in much the same way as increasing the saturation on a digital photograph.

One feature common to all three Vintage equalizers is a Drive control, designed to replicate the small amount of soft saturation the original hardware equalizers would produce. The controls on the Pultec are slightly unconventional – for example, the Low section provides both a Low Boost and Low Attenuation that can be applied at the same time! Though somewhat counter-intuitive, the walk-through details some of the unique sonic quirks that the Pultec is famed for, which, of course, can be perfectly replicated on the Vintage Tube EQ.

Technically speaking, the single plug-in is actually a replication of two valve equalizers – the shelving-like Pultec EQP-1A and the more mid-range-focussed MEQ-5 – hence the two power switches on the plug-in. Of all three equalizers, it’s arguably the Vintage Tube EQ that delivers the least precision, but the largest amount of mojo. Push the frequency harder, though, and Q will become sharper, applying a more focussed cut or boost to the signal. Put simply, Proportional Q means relatively small amounts of cut or boost will result in a musically-wide Q setting. That said, the API 560 is still a well-loved sound-shaping tool, partly thanks to its Proportional Q. On the whole, Graphic EQs tend to get a bad name in the studio, mainly because the band divisions are relatively coarse by comparison to a fully-sweepable parametric equalizer. The API 560, otherwise known as Vintage Graphic EQ, is interesting as it’s Logic’s only example of a graphic equalizer. Mids are catered for with a semi-parametric band (from about 360Hz to 7kHz), leaving the tops covered by a silky shelving EQ set at 12kHz. One key difference to note is that the original 1073 had stepped controls, while the newer Vintage Equalizer has sweepable frequency controls that let you ‘tune-in’ to a specific frequency. The low-end can be controlled using the combination of a passive (18dB/octave) high-pass filter along with a low shelving Equalizer with an adjustable frequency setting (from 35-220Hz). As the name suggests, the Vintage Console EQ is a great ‘mixing’ equalizer, with a set of simple, focussed controls. Like all these Vintage EQ plug-ins, the Vintage Console EQ isn’t a tool you’d turn to for surgically-precise timbral modification, but more a broader ‘brush stroke’ for changing the colour and representation of a sound. Like many console EQs produced in the 70s, the 1073 is a relatively simple equalizer: with a low-cut, two shelving sections and an adjustable mid cut/boost. The Neve 1073 is what Logic refers to as the Vintage Console EQ, arguably harking back to its original inclusion as part of a Neve A88 console.

Although Apple can’t reveal the actual equalizers that have been modelled, it’s pretty obvious to visually identity them as a Neve 1073, API 560, Pultec EQP-1A and MEQ-5. If you are thinking of getting an Apollo Twin try and get the Quad as it has more on board DSP capability, which you will use.If you’re used to Logic’s Channel EQ plug-in, the first experience of using the Vintage EQ can seem a little daunting, especially as you won’t be aware of quirks and operational features of the Vintage EQ models on offer. I use the Quad so it can accommodate two Neve 1073s simultaneously. But I found this combination gives a really clear and high quality output with the Apollo X. It's hard to find enough good info about recording acoustic guitar withe the Apollo and which UAD plugins work well, and it will depend on what you arre trying to achieve and your instrument /mics.

I don't add any other plugins on the Inserts as I use the additional ones below in the DAW as part of the mix and mastering:Ģ) Manley VoxBox - a complete channel strip, you can include or bypass the compressor depending on how you want to master the recording.ģ) Shadow Hills Mastering Compressor - Placed as an overall mastering compressor and apply the settings in a subtle manner, so as not to squash the sound or muddy the output.Ĥ) Lexicon 480L - a really high quality reverb (add as much or as little as you need). I record in Stereo with two mics.ġ) Neve 1073 - if you use an Apollo with Unison preamp technology then add the Neve to the Unison position. I thought I would share my choice of UAD plugins for recording acoustic guitar.

Neve 1073 plugin settings