Songs Made with Gold Clip
Some mixes from legends who use Gold Clip.
Below are some legendary engineers that are making music with a little help from Gold Clip. Read how they are using it and take a listen.
Stuart White (mixer)
Beyonce - Cowboy Carter
“I used Gold Clip on a few tracks from Cowboy Carter. I had it inserted on my aux groups clipping some peaks off.”
Teezio (mixer)
Chris Brown - 11:11 (Deluxe)
“Tell’m the whole album has Gold Clip on it”
Bainz (mixer)
Young Thug - Oh U Went (ft. Drake)
“Gold Clip was the last plugin on the mix with a little bit of gold for Young Thug’s ‘Oh U Went’”
Jon Low (mixer)
Maya Hawke - Missing Out
“I have an instance of Gold Clip on the drum bus that's integral to the drum sound. It's acting slightly like a limiter through the clipping section in Classic mode. Classic Gold processing is at over 4db, really filling in some of the low level detail. On an acoustic drum kit, it adds excitement and punch in a totally different way than compressing. Gold Clip is also on the mix bus just doing a little work. The clipping is no more than 1-2db since the drum transients are already controlled early on.”
Tony Maserati (mixer)
Jesse Reyes - SHUT UP (ft. Big Sean)
“Used Gold Clip on this mix and so many more”
Benjamin Thomas (mixer)
Lil Uzi Vert - Endless Fashion (ft. Nicki Minaj)
“I used Gold Clip on the drum bus and the mix bus and every mix I have done since it came out.”
Chris Tabron (mixer)
Jensen McRae - Massachusetts
“In the year since I've been using Gold Clip, I've gone from putting it on at the end of a mix for just a dash of magic, to getting it in the chain fairly quickly after my balances and making lots of decisions through it. Just a bit of Gold Processing, and a touch of Alchemy gives me something inspiring to push into, without sacrificing any fidelity. You can hear this most recently on Jensen McRae's latest single Massachusetts.”
Ryan Schwabe (mixer)
BAYNK - Blood
“This song is intentionally crunchy sounding. I used Gold Clip on the mix bus with 4dB of Classic Gold to make it sound like the record is bleeding a bit.”
One Year of Gold Clip
From launch to legend, GOLD CLIP has come a long way in one year.
From launch to legend, GOLD CLIP has come a long way in one year.
Several months before the release, I started an Instagram to talk my way through the making of Gold Clip. I made endless memes, bleached my hair gold, and sh*t posted my ride through the long and difficult development process. I made the project an open diary and chaotically posted "coming soon" everyday. A lot of you made suggestions along the way and even got involved in Gold Clip’s early development. Many of those comments and DMs were instrumental in what it is today. It was a wild ride and I never expected how long it would take to get over the finish line. And once I crossed that line, I didn’t expect it to end up in the hands of so many legendary creators around the world.
At the time of the release, I was an Associate Teaching Professor of Recording Arts and Music Production at Drexel University's music industry program and a full-time mixing and mastering engineer. Originally, I built Gold Clip for my own work as an engineer. It was a passion project that took over my life for nearly three years. Every dollar I made in music I dumped back in to Gold Clip. My music friends grew tired of hearing me ramble on and on about compression without attack and release. It was a long ride, but I had some trusty co-pilots and I just kept it moving. I told myself that if I didn't use Gold Clip in my own work, then I wouldn't release it. And that has been the ethos for all of my plugins since.
Schwabe Digital is here to stay. I can't tell you too much about my future plans right now, but I am making some new and innovative tools. First, we will release our debut FREE plugin - something simple and cool for the culture. Then, I cannot wait to share with you the next device, a FREE add on plugin for all Gold Clip owners. Gold Clip will become Gold Clip Pack. We are grateful for all of your support and want to give back to what you all started. After all that, we will release a new groundbreaking plugin that I have been using on all of my masters since the first alpha version. More on all of that later.
As I think back over the past year, I wanted to share some projects that my favorite engineers (and I) have mixed with the a little help from Gold Clip.
Stuart White: Beyonce - Cowboy Carter
“I used Gold Clip on a few tracks from Cowboy Carter. I had it inserted on my aux groups clipping some peaks off.”
Teezio: Chris Brown - 11:11 (Deluxe)
“The whole album has Gold Clip on it”
Bainz: Young Thug - Oh U Went (ft. Drake)
“Gold Clip was the last plugin on the mix with a little bit of gold for Young Thug’s Oh U Went”
Jon Low: Maya Hawke - Missing Out
“I have an instance of Gold Clip on the drum bus that's integral to the drum sound. It's acting slightly like a limiter through the clipping section in Classic mode. Classic Gold processing is at over 4db, really filling in some of the low level detail. On an acoustic drum kit, it adds excitement and punch in a totally different way than compressing. Gold Clip is also on the mix bus just doing a little work. The clipping is no more than 1-2db since the drum transients are already controlled early on.”
Tony Maserati: Jesse Reyes - SHUT UP (ft. Big Sean)
“Used Gold Clip on this mix and so many more”
Benjamin Thomas: Lil Uzi Vert - Endless Fashion (ft. Nicki Minaj)
I used Gold Clip on the drum bus and the mix bus and every mix I have done since it came out.
Chris Tabron: Jensen McRae - Massachusetts
In the year since I've been using Gold Clip, I've gone from putting it on at the end of a mix for just a dash of magic, to getting it in the chain fairly quickly after my balances and making lots of decisions through it. Just a bit of Gold Processing, and a touch of Alchemy gives me something inspiring to push into, without sacrificing any fidelity. You can hear this most recently on Jensen McRae's latest single Massachusetts.
Ryan Schwabe: BAYNK - Blood
“This song is intentionally crunchy sounding. I used Gold Clip on the mix bus with 4dB of Classic Gold to make it sound like the record is bleeding a bit.”
Be well,
Ryan Schwabe
Grammy-nominated and multi-platinum mixing & mastering engineer
Founder of Schwabe Digital
What’s the Difference Between GOLD CLIP and ORANGE CLIP?
I often get this question…
What’s the differences between Gold Clip and Orange Clip?
GOLD CLIP is a clean, high-precision mastering tool that uses its unique loudness technology called Gold and Alchemy to create exceptionally smooth and loud masters. It sounds lush, expensive, bold, and gives recordings the last 5% of detail we all strive for. It emulates a well-known golden mastering device used on thousands of hit records, and builds on that distinctive dynamic process with advanced anti-derivative, anti-aliasing oversampling technology.
ORANGE CLIP is a loud and aggressive production & mixing clipper that emulates the sound of a legendary DAW for music production. It can be driven hard for added bite or used subtly for warmth and character. It is a color box, enhancing lows, smoothing the mids, and flattening the high end in a unique and pleasing way. While not transparent, it is a familiar tone we have all grown to know and love. With minimal CPU usage and 0 samples of delay, it’s easy to incorporate Orange Clip into your production workflow.
Should I use ORANGE CLIP and GOLD CLIP together?
YES, there are no rules and each clipper has its unique and distinctive sound.
GOLD CLIP is often used to maintain clarity, increase perceived loudness, energy and detail of the whole mix or grouped instruments.
ORANGE CLIP is often used to provide aggression, color, character, and to shape transients of individual or grouped instruments in a mix.
Check out this short video on why I built Orange Clip
Be well,
Ryan Schwabe
Grammy-nominated and multi-platinum mixing & mastering engineer
Founder of Schwabe Digital
Celebrating 6 Months of Gold Clip!
Today marks the 6-month anniversary for the release of GOLD CLIP. I want to take this time to thank you all for the support and love you have shown. Especially to those who followed my journey on IG while I was sh*t posting my way through the Gold Clip development process.
Today marks the 6-month anniversary for the release of GOLD CLIP. I want to thank you all for the support and love you have shown. Especially to those who followed my journey on IG while I was sh*t posting my way through the Gold Clip development process.
2024 will be a big year for Schwabe Digital. We are releasing our second plugin early next year. That release will be a fun production- and mix-focused plugin. Watch out for that announcement early next year.
Then, shortly after that, we will release another mastering tool that will complement Gold Clip. That plugin has been on all of my masters since the first version I received from my development team. It sounds stunning.
And finally, we will release our third mastering tool at the start of 2025. All the while, we will continue to maintain and upgrade Gold Clip.
Gold Clip has been adopted by some of my favorite mixing and mastering engineers. Bains, Teezio, Jesse Ray Ernster, Ben Thomas, Jon Low, Nicolas de Porcel, Tony Maserati, Justin Perkins, Eric J. Dubowsky, and so many more are using Gold Clip.
Gold Clip has made its way on to countless hit records from Burna Boy, Doja Cat, Kanye West, City Boys, ODESZA, Lil Uzi Vert, OFFSET, Mariah the Scientist, Fridayy, Chris Brown, DJ Shadow, Lady Blackbird, Tee Grizzley, Cochise and thousands of others.
Tag @SchwabeDigital in an instagram story and show us what records you have been using Gold Clip on. We'll repost.
I am so excited to bring new and exciting tools to the production and engineering space in 2024. Please stay tuned.
Thank you all for following along, sharing and showing support!
Be well,
Ryan Schwabe
Grammy-nominated and multi-platinum mixing & mastering engineer
Founder of Schwabe Digital
The New GOLD CLIP 1.2.1 is Here!
We have an updated interface, new oversampling options, a new downsampling filter technique, and some long-requested new features. Plus, we reset all 30-DAY FREE TRIALS. Check out all the new tech below.
We are very excited to bring you GOLD CLIP version 1.2.1!
We have an updated interface, new oversampling options, a new downsampling filter technique, and some long-requested new features. Plus, we reset all 30-DAY FREE TRIALS. Check out all the new tech below.
Oversampling Upgrades
GOLD CLIP 1.2.1 allows you to choose between three different oversampling options: High, Pristine and Extra Pristine. You can also choose a different sampling rate for Real Time processing and Offline bouncing.
High - 4x (44.1kHz & 48kHz), 2x (88.2kHz and 96kHz+)
Pristine - 8x (44.1kHz & 48kHz), 4x (88.2kHz and 96kHz+)
Extra Pristine - 16x (44.1kHz & 48kHz), 8x (88.2kHz and 96kHz+)
Oversampling Type - The long-requested Linear-Phase and Minimum-Phase oversampling options are now available in the settings window of Gold Clip. Both oversampling approaches use a newly designed amplitude-modulated downsampling filter and antiderivative anti-aliasing processing.
Interface Updates
The Tooltips have been moved to the front page and a settings page gearbox icon has been added.
The Clip Filter has been moved to the top left of the clipper selection button.
Both AB states now save with your session and you can toggle between A and B without moving the mouse from A to B. Close your eyes, click and make your decision.
AAX - Pro Tools automation quick keys added.
The Settings page has been redesigned.
Gold Clip 1.2.1 is now available in the downloads folder in your Schwabe Digital account.
Also, the 30-day free trial period has been reset. If you tried Gold Clip before and you want to try it again, now is the time.
Tag @SchwabeDigital in an instagram story and show us how you are using the new GOLD CLIP. We'll repost.
Be well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
01) What is Gold Clip?
Don't be intimidated. While the internal gain staging of GOLD CLIP is complex, the functionality on the interface is very simple. Once you understand it, you'll be ready to use the plugin in any scenario.
GOLD CLIP is much more than just another clipper. It is an incredibly powerful dynamic processor that requires some understanding of gain staging and mastering techniques to maximize its full potential. It is a simple tool, but underneath lies complexity. It is a clipper, but it is so much more than that.
Once you fully understand Gold Clip, you will be able to unlock a wide palette of sounds; from aggressive and dirty to clean and pristine.
What does Gold Clip do?
Gold Clip is a clipper, loudness saturator, mid to high frequency peak processor, distortion device, box tone generator, clip clock, and true parallel mixer. It can be a mastering processor, a unique dynamic effect for mixing, and a creative tool for production. It can be clean and reserved, or loud, angry, and distorted.
Gold Clip includes two loudness saturation algorithms called Gold as well as a unique mid to high frequency peak processor called Alchemy. Both processors are integrated into the clipping algorithm to produce a maximally smooth and loud master.
The Three Main Functions
The Clipper is inspired by the overloading effects of two famous mastering converters. We named them Modern and Classic. There is also a clean clipper that we cooked up for you called Hard. These three clippers are like no other digital clippers out there. Try pushing your mixes into them and see how smooth and natural they sound. And the clipper isn't even the best part, but it is a necessary step to make Gold processing possible.
Gold processing uses a clever loudness technique that enhances quiet sounds in your mix, without altering the peaks. I like to call it compression without consequence, but in reality, it is compression without attack and release. Use the input trim to boost your mix up to the clipper's ceiling, add some Gold, and experience the power of this incomparable dynamic effect.
Alchemy is a peak processor that operates in the mid to high frequencies, reducing harshness and unwanted clipping effects. As the signal reaches the clip point, Alchemy gently softens the mid to high frequencies. I like to think of it as digital tape because it can take the ugly bite out of a mix when things get loud.
To see and hear this all in action, I've put together a short 7-minute video going over all the different ways you can use Gold Clip in your productions.
Be well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
02) Get Quick Results with Gold Clip
This is a simple, straightforward way to use GOLD CLIP for mixing and mastering in any genre.
This is a simple, straightforward way to use GOLD CLIP for mixing and mastering in any genre.
The Seven Steps
1. Put Gold Clip on the first open insert slot on your master fader. I typically put my final limiter in the last insert slot... what goes in between is up to you.
2. Use Gold Clip's default preset and make sure the I/O Trims are linked by clicking the 🔗 symbol above the waveform display.
3. Navigate to the loudest part of the song and increase the input trim until you get 1 dB or less of clipping. Why not more? Well, Gold Clip is an amazing clipper, but the real magic is in the Gold processing.
To achieve the cleanest sound possible with Gold processing, it is best to avoid excessive clipping. The more clipping you do, the less transparent Gold processing will sound. For now, we will lightly clip the track and let the Gold processing do its thing. However, in order to capture the complete compression curve of Gold, we want to push the signal as close to the clip point as possible.
4. Add 1 dB to 2.5 dB of Modern Gold processing and then set your final limiter to a loudness level that you think is appropriate for the production. The more Gold you add, the less final limiting you will need.
5. To smooth things out more, add up to 0.25dB of Alchemy processing to taste.
6. Audition the Modern and Classic Box Tones.
7. Toggle the internal bypass and hear the magic of Gold Clip.
That's it!
Using this simple setup for mastering (or mixing) will give you the best results with Gold Clip's unique GOLD processing. You can think of Gold as a compressor without attack and release - it sounds clean, expensive, and adds a powerful dynamic effect to your mixes and masters. It's like no other plugin out there.
Let us know what you think! Tag @SchwabeDigital in an instagram story and show us how you are using Gold Clip. We'll repost.
Here's a quick video example of this entire setup.
Be well,
Ryan
p.s. Subscribe below for updates on Schwabe Digital Plugins.
03) Gain Staging in Gold Clip
This is a simple, straightforward way to use GOLD CLIP for mixing and mastering in any genre.
Don't be intimidated. While the internal gain staging of GOLD CLIP is complex, the functionality on the interface is very simple. Once you understand it, you'll be ready to use the plugin in any scenario.
There are four elements that affect gain and they flow like this:
Input Trim --> Clipper Ceiling --> Parallel Mixer --> Output Trim
The Input Trim affects the input level, and Output Trim affects the total plugin output after the parallel mixer. They both float over the I/O meters and look like this.
The I/O Trims are linkable by clicking the 🔗 symbol above the waveform display shown below.
Linking the I/O Trims lets you alter the internal gain staging of Gold Clip and maintain perceived loudness. Basically, when you turn the Input Trim up 1dB, the Output Trim automatically goes down 1dB.
The Clipper Ceiling control moves the clipper ceiling, and the knee of the Gold and Alchemy processors down from 0.0dBFS to as low as -36dBFS. This control is most useful when processing lower-level signals like individual tracks in a mix.
The Parallel Mixer allows you to blend wet and dry signals like every other plugin. However, what sets Gold Clip apart is the option to unlink dry and wet signals and blend them separately by clicking on the 🔗 symbol.
For instance, you could put the dry signal at full volume and blend in the clipped signal in from the bottom up! Then adjust the Output Trim to maintain perceived loudness.
In a previous video, I talked about how Gold processing relies on the input being as close to the clip point as possible in order to get the most out of it. In that example, we used the linked I/O Trims to get the signal to the clip point, but now let's use the clipper ceiling.
Two Ways to Clip & Process
1. Link the I/O Trims with the 🔗 above the waveform display.
2. Push the Input Trim up so you get exactly 0.0dB of clipping.
3. Take note of the Input Trim level required to get there.
4. Reset the Input Trim to 0dB by option-clicking the fader.
5. Pull the Clipper Ceiling down by the same dB value that you used on the input fader.
You just accomplished the same internal gain staging two different ways. Linking the I/O Trim allows you to adjust the signal by +/-12dB. However, using the Clipper Ceiling allows you to apply Clipping, Gold and Alchemy processing to signals all the way down to -36dBFS. If you use both the clipper ceiling control and linked I/O Trims at the same time you can process tracks with levels as far down as -48dBFS and still maintain perceived volume.
I generally use linked I/O Trims when Gold Clip is inserted on the master fader, and the Clipper Ceiling control when it is inserted on instrument tracks and buses.
Check out this video to hear this in action.
Let us know what you think! Tag @SchwabeDigital in an instagram story and show us how you are using Gold Clip. We'll repost.
Here's a quick video example of this entire setup.
Be Well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
04) What is GOLD Processing?
The namesake of GOLD CLIP, this feature is fundamentally different than a traditional compressor. Instead of an attack and release time, Gold performs a sample-by-sample analysis of the input and applies a non-linear gain to the signal.
The namesake of GOLD CLIP, this feature is fundamentally different than a traditional compressor. Instead of an attack and release time, Gold performs a sample-by-sample analysis of the input and applies a non-linear gain to the signal. It leaves peaks and transients largely untouched, but applies gain to low level material, increasing perceived loudness.
Gold compresses audio instantaneously, like the compression effect from tape. It also compresses without the artifacts you hear from the attack and release stages of traditional compressors. This means that transients remain natural, fast, and clean.
The end result? A clean approach to loudness that gives the sonic effect of sounds inflating, or getting bigger. Mixing into this effect on your master fader can change the way you compress your instruments and buses that feed into Gold Clip.
Two Types of GOLD
The Modern setting emulates the soft-knee loudness processing of a famous mastering converter from 2022. In effect, Modern is a gentler and more forgiving form of compression.
Modern applies less gain than Classic and uses a shorter knee. Modern maxes out at 2.5dB of gain, while Classic can apply up to 6dB.
2.5dB of Modern GOLD
Classic emulates the soft-knee loudness processing of a popular mastering converter from the late 2000s. It uses a softer knee for its amplitude saturation but sounds more aggressive than Modern and causes more harmonic excitement at its maximum settings.
The knee of Classic is fundamentally different because it varies depending on the amount of Gold applied and can start as low as 12dB below the clip point when set to 6dB.
6dB of Classic GOLD
Which to choose?
For mastering, I like to start with Modern Gold processing. With a maximum of 2.5dB of gain, it gives a clean and transparent sound.
Gold Clip often sounds best when it's just before your final limiter, but I also like to use it first in the chain.
Classic Gold is more aggressive because it is applying more gain over a longer knee. It is more suited for signals with a wider dynamic range like a drum bus, 808s, effects returns, or vocals, while Modern is best suited for dense content - like a full mix.
What is Gold Unity?
Gold Unity is simple. If you are adding 6 dB of nonlinear gain with Gold, Unity will reduce the output with 6 dB of linear gain after Gold, maintaining perceived volume but reducing peaks. This allows you to hear the compression effects of Gold without being tricked by the increase in loudness.
Just remember that the more aggressive clipping you do, the less clean gold processing will sound. When using Gold for loudness, I like to keep my clipping to a minimum.
Here's a quick video example of this entire setup.
Let us know what you think! Tag @SchwabeDigital in an instagram story and show us how you are using Gold Clip. We'll repost.
Be Well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
05) The Subtle Magic of Alchemy
In medieval times, people believed in "alchemy": a fictional process that could supposedly transform mundane materials into precious gold. Sadly, it doesn't exist...
But in GOLD CLIP, it does :)
In medieval times, people believed in "alchemy": a fictional process that could supposedly transform mundane materials into precious gold. Sadly, it doesn't exist...
But in GOLD CLIP, it does :)
Alchemy will reduce the unpleasant harmonic effects of clipping by contouring mid and high frequencies down by as much as 1dB post-clipping.
By softening these harsher frequencies, the sonic effect is much like the high-frequency saturation of tape, but does not affect any other part of the signal.
This is an extremely subtle effect because it only kicks in as the signal approaches the 0.0dB clip point, and only on the mids and highs.
When to Use ALCHEMY
Much like tape, the high-frequency compression applied is instantaneous, without attack or release artifacts.
You can use Alchemy as a subtle de-esser, or high-frequency softener. I tend to start with Alchemy at 0 dB, then dial in the amount of clipping I desire. I then turn up Alchemy to pull back the harsh mids and highs. Usually 0.25 dB or less is all I need. Sometimes I do not need any at all and command-clicking the Alchemy knob bypasses it entirely.
If you have a limiter adding gain AFTER Gold Clip, Alchemy will increase the perceived loudness of kick drums and other low-frequency transients as they ascend into the clipper.
Things to Keep In Mind
Remember that Alchemy processing correlates to the signal approaching the clip point, much like Gold processing. In most popular music, the loudest signal will be the kick drum and/or bass at about 80hz.
So, as the low end of the kick/bass approach the clip point, Alchemy will begin reducing the mid and high frequencies.
For example, if a clap and kick hit at the same time, the clap would appear slightly lower in level than the kick because Alchemy is pushing the mids/highs down as the signal approaches 0.0dBFS.
Check out the images below to see how Alchemy is affecting the signal as it approaches the clip point. The below graphs show Alchemy at 1.0dB at varying input levels.
Give Alchemy a try next time you use Gold Clip, and let me know what you think. It sounds particularly great on drums! Tag @SchwabeDigital in an instagram story and show us how you are using it. We'll repost.
Be well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
06) Three Clippers, One Plugin
You probably already have seen that GOLD CLIP has three unique clipper algorithms: Modern, Classic, and Hard.
You probably already have seen that GOLD CLIP has three unique clipper algorithms: Modern, Classic, and Hard.
Each of these algorithms sound quite different, and I encourage you to try different modes to see what works best for your music.
But did you know there's a hidden fourth setting? 🤯 Keep reading, and I'll tell you all about it.
Picking the Right Clipper
Classic is the default and is a great all-around option. It's inspired by a famous hardware mastering device with a medium knee, and it works on nearly all material. I usually start with this.
Modern emulates a different hardware device with a soft knee, and like Classic it is tuned to match its dynamic response precisely. This setting delivers more lively sound that accentuates low-frequency transients.
Hard gives you the cleanest sound by maintaining the integrity of the signal below the clip point. If I want a clean sound, I'll push the input trim so the track is half a dB below the clip point. Then, I use Gold to get loudness and Alchemy to shape tone.
The Secret Fourth Clean Setting
During development, I insisted on a "clipper off" setting, despite objections from my developer.
With the clipper off completely, Gold and Alchemy can work in the cleanest way possible, without the harmonic effects of clipping.
If you're careful with your gain staging, this mode can work wonders. I've used it on modern classical records, folk, ambient, and even a few RnB and rap records.
This is one level cleaner than the Hard setting and can be very powerful if used correctly.
Just make sure the signal stays below the clip point, or else unpleasant distortion can occur.
Accessing "Clipper Off" Mode
To get this fourth setting, command-click on the Clipper button. This puts the clipper in bypass and turns the ceiling needle grey.
Use the linked input/output trim to get the signal as close to 0.0dBFS as possible, then apply Gold & Alchemy processing... and voila, you're using Gold Clip in the cleanest way possible!
Give it a try, and let me know what you think. Tag @SchwabeDigital in an instagram story and show us how you are using Gold Clip. We'll repost.
Be well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
07) What is Clip Clock?
Clip Clock is very simple idea, but a powerful tool that is unique to Gold Clip. It does two things.
First, it monitors the maximum amount of clipping in your track. If you clip the track by 5 dB, and that's more than you intended, Clip Clock will let you know in the MAX CLIP field.
Clip Clock is very simple idea, but a powerful tool that is unique to Gold Clip. It does two things.
First, it monitors the maximum amount of clipping in your track. If you clip the track by 5 dB, and that's more than you intended, Clip Clock will let you know in the MAX CLIP field.
Second, it records the MIN:SEC of where that maximum amount of clipping took place.
Even if the plugin window is closed, Clip Clock keeps track of the maximum amount of clipping and its location. To hear if the clipping is too much or too little, navigate to that MIN:SEC of the song and let your ears decide. Double-click "MAX CLIP" or "MIN:SEC" at any time to reset.
It is a simple, yet extremely useful tool to help you dial in your clipping and Gold processing. Remember, less clipping results in cleaner Gold processing. In some ways, they are inversely related. That's why I included Clip Clock -- so you can fine-tune your clipping and maximize the impact of Gold.
Give it a try, and let me know what you think. Tag @SchwabeDigital in an instagram story and show us how you are using Gold Clip. We'll repost.
Be well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
08) Getting to Know Box Tone
Box Tone is one of the more subtle processors on GOLD CLIP, but I often find it helpful when I want to smooth out the top end of digital recordings. In effect, Box Tone is a hyper-sonic low-pass filter that cleans up some of the digital ugliness on the very top of a mix.
Box Tone is one of the more subtle processors on GOLD CLIP, but I often find it helpful when I want to smooth out the top end of digital recordings. In effect, Box Tone is a hyper-sonic low-pass filter that cleans up some of the digital ugliness on the very top of a mix. Again, it is subtle, but it creates a slight contour to the high frequencies and kind of just smooths things out; especially the Modern setting. Here is a look at what Box Tone is doing.
FLAT - Is bypassed. It does not have a contour or hyper sonic low-pass filter - it is flat and true to the input signal up to 40kHz in a 96kHz host sample rate session.
CLASSIC - Imparts a gentle air-band contour at 20kHz and a hyper-sonic low-pass filter that removes the unwanted signals beyond our our hearing range between 20kHz and 40kHz.
MODERN - Imparts a subtle mid- and high-frequency contour around 3kHz and 8kHz, slightly reduces the air-band around 20kHz by 0.3 dB, and applies a hyper-sonic low-pass filter similar to classic.
Box Tone is a high-precision filter that is inspired by the mid- and high-frequency contour of the modern and classic converter. As you would imagine, converters are intended to be as flat and balanced as possible, and for that reason these effects are extremely subtle.
Let us know how you are using Box Tone in your mixes and masters. Or, tag @SchwabeDigital in an instagram story and show us how you are using Gold Clip. We'll repost.
Be well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
09) A True Parallel Mixer
In my mixing I use a lot of parallel processing. Parallel compression, distortion, modulation, and obviously time-based effects. The benefit of using parallel processing is that you manipulate sounds from the bottom up, rather than the top down. Compression, distortion and modulation effects are no longer affecting the peaks of the signal, they are hovering at the bottom.
In my mixing I use a lot of parallel processing. Parallel compression, distortion, modulation, and obviously time-based effects. The benefit of using parallel processing is that you manipulate sounds from the bottom up, rather than the top down. Compression, distortion and modulation effects are no longer affecting the peaks of the signal, they are hovering at the bottom. You may have heard this approach referred to as "Bottom Up Compression", "NY Style Compression" or simply "Parallel Compression".
I love a mix/blend knob on a plugin, and in its default state GOLD CLIP's mix/blend works just like every other plugin, but it can do so much more. While developing Gold Clip, I wondered why plugins did not have an option to run in true parallel, allowing for bottom-up parallel processing. That simple question led me to develop the true parallel mixer in Gold Clip.
What is a True Parallel Mixer?
A true parallel mixer allows you to blend the level of the dry signal separately from the level of the wet signal. If you unlink the dry and wet signals with the 🔗 symbol between the faders, you can perform parallel, bottom-up processing right inside Gold Clip. Keep the dry signal full volume (0.0dBFS) and blend in the wet signal from below.
The wet signal contains all of Gold Clip's processing. The dry signal consists of the plugin's true input without any oversampling or gain manipulations -- the input is simply delayed so it is time & phase aligned with the wet signal. This allows you to mix and blend the dry and wet signals as if Gold Clip was on a send and return channel in your DAW.
Potential Uses for the Parallel Mixer
If you want your bass or 808s to decay into a bed of distortion, you can heavily clip the track, leave the dry fader at full volume and blend in the wet signal from the bottom up. The low end is still clean and pure, but the bass decays into a bed of distortion. There is even a preset that uses this technique called "Distortion Bed." Check it out.
If you wanted to add some bottom-up compression using that same preset, simply back off the clipping and lean into the Gold Processing. Now, sounds will decay into a bed of gold compression. Or, just use the "Compression in Parallel" preset.
By unlinking the dry and wet faders, you have a world of parallel compression and distortion techniques at your fingertips. Mix and blend the distortion or compression effects, monitor the short-term LUFS meters below the input and output meters, and use the output trim to match loudness.
These techniques can work well on bass, drums, vocals, effects returns, and much more. No need to set up aux sends and returns in your DAW. You can parallel distort and compress your sounds from the bottom up, all within Gold Clip.
Tag @SchwabeDigital in an instagram story and show us how you are using parallel processing in your work. We'll repost.
Be well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
10) Magnify Your Metering on Gold Clip
Did you know that GOLD CLIP's meters and waveform display scaling can be magnified?
The default scaling is +6 dBFS -> -36 dBFS, but if you double-click the scale on either side of the display you can zoom in to +4dBFS -> -24dBFS and +2dBFS -> -12dBFS.
Did you know that GOLD CLIP's meters and waveform display scaling can be magnified?
The default scaling is
+6 dBFS -> -36 dBFS
But if you double-click the scale on either side of the display you can zoom in to
+4dBFS -> -24dBFS
and
+2dBFS -> -12dBFS.
Zooming in to see more of the peaks will help you dial in a more precise amount of clipping. Not only does the waveform display zoom, but the I/O meters and Clip Ceiling change scaling as well.
Watch this 30-second video to see it in action!
Be well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
11) Oversized Oversampling
Oversampling is a passionate subject for a lot of people, but I believe many spend far too much time thinking about it. Regardless, I wanted to create robust over sampling options in GOLD CLIP, but still keep it as simple as possible.
Oversampling is a passionate subject for a lot of people, but I believe many spend far too much time thinking about it. Regardless, I wanted to create robust over sampling options in GOLD CLIP, but still keep it as simple as possible. I wanted to achieve a consistent sound regardless of the sample rate set in the host session. So, I made Gold Clip modulate the oversampling settings based on the sample rate of the host session. It works like this.
Oversampling Rate
High - 4x (44.1kHz & 48kHz host), 2x (88.2kHz and 96kHz host)
Pristine - 8x (44.1kHz & 48kHz host), 4x (88.2kHz and 96kHz host)
Extra Pristine - 16x (44.1kHz & 48kHz host), 8x (88.2kHz and 96kHz host)
You can also set two oversampling rates in the settings page; "Real Time" and "Offline".
Oversampling Rate
You have the option to choose between linear phase and minimum phase oversampling. Each has its own benefits, but Gold Clip defaults to linear phase.
Linear phase perfectly aligns the phase response between the wet and dry signals, but comes at the expense of what I consider an inaudible amount of pre-ringing. Minimum phase allows for optimal transient response, with a slight high frequency shift in phase rotation.
Linear Phase – Uses a custom linear phase oversampling technique and is recommended when you are using the parallel mixer within Gold Clip.
Minimum Phase – Uses a custom minimum phase oversampling technique and sometimes provides for better low-frequency transients.
Both types are high-quality, mastering-grade implementations of oversampling, and the sonic differences between the two are very subtle. We decided to give you both, but don't be afraid to just use the default setting, make some hits, and not even bother thinking about it.
Oversampling Filters
In addition to the over sampling type and rate, Gold Clip uses a custom-tuned, amplitude-modulated downsampling filter and antiderivative anti-aliasing processing. The development team and I worked very hard to craft and tune our new downsampling filters to sound smooth, clean, powerful, and without any overshoot.
Oversampling is a dense and often over-debated topic. We chose to make our oversampling as robust as possible, while still keeping it simple. Nerd out and try all the options or just leave it at its default and let it do its thing.
Test out the different options, hit reply and let me know what you think. Or, tag @SchwabeDigital in an instagram story and show us how you are using the new Gold Clip. We'll repost.
Happy record making~
Be well,
Ryan Schwabe
p.s. Subscribe below for updates on Schwabe Digital Plugins.
Downloading & Authorizing Schwabe Digital Plugins
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Select "Available" at the top and then locate the Schwabe Digital iLok asset.
Activate the asset by dragging it to your iLok key or computer. Or, Right-click on the asset and select activate.
PLUGIN AUTHORIZATION INSTRUCTIONS
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Log in to the iLok app, and then click your account name at the top left.
Select "Available" at the top and then locate your Schwabe Digital iLok asset.
Activate the asset by dragging it to your iLok key or computer. Or, right-click on the asset and select activate.
Thats it, you are now activated. Download, install and open your DAW of choice.
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