Chroma - Twin Tone-Amp™ With Colour Sound Clips
The following links feature audio clips processed through Chroma and in some cases other products for comparison purposes. To download WAV files right-click on the links and choose "Save as".
Chroma will hold its own against any preamp on the market, and due to the versatility of its analog plugin slot can even capture the vibe and texture of other popular mic preamps such that you can use it interchangeably. Some may argue it even sounds identical. In the first example, two clips - one Chroma, one API 512 - were cut in five random places and comped together in an alternating manner. In the second example, two clips - one Chroma, one RND 511 - were cut in five random places and comped together in an alternating manner. In the third example, two clips - one Chroma, one AMS-Neve 1073LB - were cut in five random places and comped together in an alternating manner. Can you hear the cuts between Chroma and the API 512, between Chroma and the RND 511, or between Chroma and the AMS-Neve 1073LB?
In the first example, the "A" Mojo Amp was used to match the tone of an API 512 set at minimum gain with no pad. In the second example I matched the tone of the RND 511 with Silk engaged and set to 12 o'clock using the "N" Mojo Amp. I installed the Rogue-Tec Air module in Chroma and set its frequency jumper to the 8k setting. The C-DRV knob was at its minimum setting and C-MIX was adjusted to match the rising high frequency curve of the RND 511. In the third example, the "N" Mojo Amp was used with the HF switch engaging the Vintage filter, which was configured internally.
Thanks to Paul Godfrey of Morcheeba for making this drum loop clip available.
Drum Loop - Chroma API 512 Medley
Drum Loop - Chroma RND 511 Medley
Drum Loop - Chroma Neve 1073LB Medley
The first half of this clip is an unprocessed drum mix. The second half of the clip features one Chroma used on the "A" setting on the snare, and another on the "N" setting with LF engaged (Sub frequency) on the kick drum. The two halves were RMS matched. Note how in the processed half the peak levels are less than the unprocessed section. Even though RMS was matched, the Chroma section sounds punchier and more exciting, and the perceived volume feels louder.
These clips use the same kick and snare clips from the example above, but use additional processing via the Colour slot to really make the tracks more exciting and mix-ready. The kick and snare tracks were individually processed through two Chromas and then summed ITB. Both the individual tracks and the mix are available with and without processing for comparison.
The snare track was processed by a Chroma in "A" mode with FET Filter loaded into the Colour slot. FET Filter was configured for a mid dip at 500 Hz. By driving into the FET input stage of the Colour module (C-DRV at 12 noon) more punch and was brought out of the raw snare track while simultaneously taming the peaks and increasing RMS energy. The C-MIX knob was set to 3 o'clock to clean up the tubbiness of the snare that was really robbing it of clarity. To further enhance presense, the HF switch was engaged (set internally to the Presence setting). The Chroma processed track is much more lively and balanced in the highs and mids.
The kick track was processed by a second Chroma in "N" mode with Implode loaded into the Colour slot. Implode (1176-style limiter) was set to "all-buttons-in" ratio with a medium-slow attack, and a medium fast release. The C-DRV knob was set to about 11 o'clock to bring out the explosive room sound of the kick drum. Then the dry signal was blended in to taste via C-MIX (set to about 12:30). Finally engaging both the LF (Sub) and HF (Presence) EQ gave it a larger than life, modern sound.
Check out how just a few knob tweaks on two Chromas transformed these drums from wimpy and dark, to hard-hitting and present.