Hi Mike,

What is your approach with HEDD 192?
How and where do you use it when recording ?
When mixing do you set the saturation controls and mix with it or you add it afterwards.

Do you have any particular settings?

Thank you

I know that it has allot to do with each individual song I am sure but I would be really interested in hearing what Mike has to say on this topic as well.

Any preferences?? Do you use certain settings over and over?? Do you try to make settings global for the whole project so it has a certain sammyness or set the HEDD for each song?? I don't own a HEDD yet but I am almost there and I am just looking for some tips.

Thanks again and again Mike, I love reading your comments, really glad you are here.

Well for the Hedd I like the varying the combination of the "pentode" and "tape " processing, it makes a huge difference to me and I think Dave Hill one smart dude!!. I also love his Pheonix plug-in and find it indispensable for adding warmth to ITB vocals and instruments that could benefit from mor warmth and size. I think the Hedd is also a great converter whether you use the processing or not.

Mike,

Do you find the Phoenix and HEDD similar. Is it really worth owning both, i one does not need the A/D/D/A I own the Phoenix plug and love it but have been contemplating getting a HEDD also...just curious wether i'd be waisting my $$ since both do the same thing. Thanks.

Mike,do you mix with with the settings active or bypass?
Do you process your master afterwards?

I think you could get great results by mixing into the Hedd process (Pentode/Tape).......it's one of the best 2-buss comps i know of.

Kind of what I was thinking but I have not gotten my hands on one yet to try. I was hoping this would be the case.



Mike I am not trying to press you, sorry if I am. Any tips on what your settings look like?? I find far too often that I get a new toy and I over use it. Come back a week or two later and I say to myself "what were you thinking" so some rough starting points would be very helpful (yes for everyone else, I know set it so it sounds good yadda yadda yadda).

Also do you find that you reset it between songs or set it once for a project and just tweak it a bit to keep the whole thing sounding the same??

Jazzius .that is the way to go for sure. I mix with the settings active ar there would be no benefit !!!!! Yes I mess with the settings depending on what I feel is needed. Usualy the "pentode and "tape" settings are between "2" and "5" tho I definately vary them.
The Pheonix plug is fantastic , but doesn't do the same thing as the Hedd because as Jassius pointed out ,the Hedd acts as a compressor across the 2buss because of its processing depending how much you use, but I really like it.

If i'm not summing outside the box...everything is done ITB so will strapping Phoenix accross the 2 bus produce similar result to the HEDD ??
I would love to hear some opinions from Mike and people who have both. I really dig the Phoenix plug but not on the 2 bus, so hopefully, the HEDD will be able to fill that gap. Thanks

The TAPE algorithm on the Spider and Hedd are identical to the Iridescent version of Phoenix.
The ´Pepper´Pentode and `Chilli`Triode are different. They simulate tube sounds.
According to Dave Hill´s words on the AES Berlin I think, he will release them in a future plugin.

Mike, have you found that you can't overlaod your Hedd?

I can slamm into it and never hear a single crackle of dreaded digital overload..!

I've decided NOT to operate smashing into it ...

But still...

Hedd Head room?

Optimum operating level?

Discuss... (please)

The Hedd process is level dependent, so if you drop the input level, you'll also reduce the amount of Hedd goodness going on.....or if you boost the input level, the sound gets funkier (more distorted or "warm", if you like)......the process is digital so if you slam the converters you'll be flat-topping the signal before it gets into the process........this can sound ok but is dangerous, specially with the process in, 'cause it'll mask the clipping (meter-wise).......i don't think the Hedd has any sort of special trick going on with slamming the A/D.....it only doesn't go "splatt" like an Apogee PSX-100.

I am ( in the next week or 2) ordering one and would love to know how you guys are hooking. I believe I've asked this before but would I go into the hedd digital or analog? I live in the Digital domain for the most part.

Chris

What about the triode knob?

Everyone talks about pentone and tape.
None uses it?

FWIW, I quite like the Triode knob... the Pentode knobs adds some air, and the tape knob seems to add a bit of squish [a damn musical squish], but the Triode knob adds a very nice set of cajones to the product.

One other little trick I've found with HEDD over the years is to find a setting that I like... then back each knob down a number [or at least half a number]... like good Tequilla it's easy to overdo it a little... so the next day when you listen to it you end up saying to yourself "what was I thinking?"

I hate having to work without at least one HEDD in the arsenal.

I'm tending to use Phoenix inside my PT mixer and now find I need increasingly LESS Hedd process now. (Like I am down to process levels like 3 or 4 instead of 7 and 5 etc) Plug in and Hedd hardware work well together IMHO.

I find the triode very hard to listen.
Pentone and tape its easier!!
any comments?

Also at what input level do you find the HEDD doing its best?

The triode knob is a binilear transfer curve that is asymmetrical and as a result, does not compress the signal. Secondly, the harmonics generated are primarily 2nd which is directly musically related to any note you play in a scale and is closer to the fundadmental making it much more subtle.