The Louder Than Liftoff [Tape Op #122] Silver Bullet mk2 plug-in is my new favorite in the box processor by a wide margin – and that’s kind of hilarious, considering that my trusty hardware Silver Bullet mk1 is the analog centerpiece of my personal studio. The thing is, the mk2 plug-in has new features that my hardware unit doesn't, so I’m able to add that extra functionality to my existing rig. While every mix still passes through my hardware Silver Bullet, I’m augmenting in my DAW with the software version, leaning on both Aspect Ratio (a glorious and subtle widener), and a little bit of edge via their Hitmaker 4000 module in the C Mojo Color section; an emulation of an '80s VCA console's saturation (see SSL 4K). It's the best of both worlds, and it’s on pretty much every mix now.
But let me back up: At the heart of the original Silver Bullet's design are two circuit topologies, now emulated in the mk2: A and N (drawing inspiration from classic API and Neve circuits). A Mojo A-N button allows the user to select between the A and N circuit models, or cascading combinations of both. It’s remarkable how different the effect can be depending on gain staging (A and N stages have individual Gain and Out controls) but also based on order. I found driving N into A tended to bring a tad more dimension to my mixes than the other way around. That said, I was working on an outlier tune that was arranged quite differently than the balance of that particular project – in this instance, I found driving A into N the preferable Mojo setting. The most impressive feature of this plug-in is that it invites experimentation in the most rewarding way. Just don’t put it in bypass; you’ll be bummed out.
The original Silver Bullet mk1 hardware unit includes a super useful, two-band Baxandall EQ and filters. The mk2 improves upon this, offering a three-band Baxandall (LF, HF, and AIR) with Pultec-style HF Sheen, Brite, Pres, and Mids, plus LF Body, Bass, Sub 1, and Sub 2. Because I love the sound of liberal amounts of this EQ on my master bus, I try not to "double-kiss" my individual tracks with the same EQ choices as it quickly creates frequency buildup. With the added bands on the mk2, I have more options than I used to. And yes, I could instantiate an instance of FabFilter Pro-Q 3 [Tape Op #132] to carve out some of the buildup; the curves and EQ points on the Silver Bullet are really magical, so I'm careful with my choices.
Just like the updated hardware Silver Bullet mk2, the plug-in version includes a Mojo C Select expansion slot that models the Hitmaker 4000 modules. Four emulations of Unfiltered Audio's Mojo Modules – exclusive to the plug-in version – can also be activated on the C slot. With the Mojo C Select's built-in Drive and Mix knobs, you can get weird (or subtly more interesting) with an expanded palette.
Driving the VCA console saturation of the Hitmaker 4000 module can bring just the right amount of edge to a track. It’s funny how much we chase warmth, only to need to bring back brightness and or a hint of edgy presence, but I digress. The Silver Bullet mk2 has a host of selectable modules for the Mojo C Select section, including Bitmaker 1200, Vinyl Saturation, Helical Scan, and VHS AF, which combines Vinyl Saturation and Helical Scan. These are a really flexible set of audio sweeteners and weirdeners – after months of testing, I’m still finding more and more uses. Brad McGowan and co. at Louder Than Liftoff have really put a lot of thought into the mk2 and have included some interesting features. In Circuit Bend mode it can be pushed into “mis-wired broken and distorted textures.” Love it! They've also added a Headroom control to the mk2 that adjusts internal operating levels; a handy in the box feature that I wish my hardware Silver Bullet had.
I can’t tell you precisely what’s behind Louder Than Liftoff’s Dyna Realism™ approach to modeling, but according to their materials, it makes use of a “Virtual Parts Bin and Serial Number systems, meticulously constructing unique static and dynamic models of analog circuits across a broad spectrum of variation and realism.” I honestly wouldn’t typically read something like that on a software website, but based on how good this plug-in sounds it’s worth including. As an owner of a hardware Silver Bullet, I do believe Louder Than Liftoff when they say they’ve stumbled on a cool and different way to make a plug-in sound realistic. Dyna Realism is working for me in the sense that if you asked me to do a mix with one plug-in and no outboard, this is the one I’d use because I know I can push it hard while keeping things sounding super musical. Plus, as I said earlier, the mk2 offers a ton of tonal options: EQ, saturation, and more. Basically, it’s a pretty darn good compressor without specific ratio controls.
Rather than A/B'ing the Silver Bullet mk2 plug-in with my mk1 hardware unit, I simply tried to spend a ton of time using both in concert with one another. I’m honestly completely bored with the hardware versus plug-in debate, as both are inextricable in my workflow. Whether on program material or on a drum bus, the mk2 consistently impressed, based on my longstanding relationship with my mk1 hardware. The hardware gives me that instant gratification of tactile operation. The mk2 plug-in offers consistency and recallability without any noticeable sonic compromise. It also has some excellent features that are not available in my hardware unit.
It’s crazy – go on any audio forum, and people are stressing out about whether their converters are good enough. Basically, current pro audio tools (digital and otherwise) are amazing, and yet nobody is happy. Chalk it up to modern life, but the fact is, we’re all running out of excuses. With the Silver Bullet mk2 plug-in, a standard interface, and a decent mic, you could seriously make great recordings. Now all you need are good ideas.
_disp_horizontal_bw.jpg)