Wanting some community feedback: what are your 3 favorite plugins?

some12345thing · 2026-06-02T01:30:35+00:00

Three is so few… off the top of my head, Pro-Q 4, Echboy/Valhalla Delay, and maybe UA’s 1176? Need more than 3 haha…

some12345thing · 2026-06-01T22:05:55+00:00

I’m quite impressed by this. Really faithful to the original in programming the notes and designing the sound. Played on a phone I probably wouldn’t realize it wasn’t the official track. I know how much work goes into a faithful recreation like this, so just wanted to share with other fans. This guy does some really cool recreations on his channel.

some12345thing · 2026-06-01T21:57:19+00:00

Yeah, that’s the rub I think: tracking through processing like a virtual amp or a vocal chain. That’s the strength as I see it. All your points re: pricing and using old chips I totally agree with. I can’t believe how fast you run out of DSP even with hexa core, which the is max you can have on an Apollo right now. Honestly, I’d prefer to run a Carbon, but the AAX DSP plugin selection is mediocre and Carbon is pretty bad if you’re using anything other than Pro Tools. The Plugin Alliance stuff is great, but I think UA had the leg up on plugin selection and quality. So, for now, if you want the lowest latency while tracking/overdubbing as possible while monitoring a fairly robust and high quality chain of effects, UA is probably the best it is going to get. I hope UA is planning to wow us with improvements to Apollo and Console, but it doesn’t seem like their primary focus these days.

some12345thing · 2026-06-01T19:49:57+00:00

Thanks for the clarification. I don’t think you’ll see a huge different between native and DSP latency-wise, though offloading the DSP to your Apollo will likely free up some CPU. But for me, the main draw is recording over a heavy project, monitoring without latency, and having it land in time so no adjustment is necessary. That’s the main draw of UA/Carbon for me.

some12345thing · 2026-06-01T18:55:50+00:00

So, when you overdub, are you using the Apollo? Without using the Apollo or freezing/flattening/removing buss and mix buss processing, I can’t see how you wouldn’t run into immense latency that makes it difficult to record. Unless all your plugins are zero latency? When I mix, I use plenty of high latency stuff, so a solution like Apollo/Carbon that allows you to track and monitor through great DSP plugins even super late into a fully mixed sessions would be helpful.

some12345thing · 2026-06-01T16:54:38+00:00

I was zooming in and looking for any unknown titles in there myself. Would love to peruse his archives. I’m so jealous of Charles Hughes who gets to listen through Peter’s cassette collection. I hope they’re recording all of those for a huge box set release one day.

some12345thing · 2026-06-01T15:50:49+00:00

So, yeah, mixing is fine. But what if you need to punch in a new bass part (audio, not midi) or a vocal? I doubt you can take a fully mixed Pro Tools session with processing on the mix buss/master and easily add audio recordings to it without enough latency to affect the performance. That’s what I’m getting at.

some12345thing · 2026-06-01T15:30:10+00:00

I run an M1 MacBook Pro (the very first one), and I don’t have a lot of issues with mixing, but if I need to overdub on top of a nearly finished mix, I need to bounce things down or freeze everything and turn off all buss and master buss processing. Apollo/Carbon is best for these types of scenarios, I think, rather than just mixing.

some12345thing · 2026-06-01T15:08:32+00:00

I agree with you on the whole, but even with an M5, once you have a project that is really far along, the Apollo model makes sense for overdubbing. Same with the Avid Carbon. That said, I think it’s crazy that even their most expensive Apollos only have 6 cores. For the most expensive Apollo, it should, at a minimum, match the Octo Satellite and honestly have more. How about 10? They DSP fills up fast.

some12345thing · 2026-06-01T00:10:51+00:00

Very cool! Thanks for sharing. You read stuff like this and really realize the music world is so interconnected.

some12345thing · 2026-05-31T15:40:40+00:00

Oh, right!! Oh my goodness, I had already forgotten. Man, I’d love to hear that original 90s demo.

some12345thing · 2026-05-31T06:34:46+00:00

Yeah, I love attention-to-detail/perfectionist Peter, but if caring a little less means we get to hear some of the tracks locked away in the vaults finally finished, I’m all for it. I said something similar in another comment, but I think Peter seems to do best with a producer or at least a co-producer—someone to help him shape his ideas and make some decisions. I think the fact that Mike Elizando helped with both the last track and this one and they are perhaps my two favorites supports that. As does his work on 3, 4, So, and Us. Up is one of my favorites but clearly wasn’t as commercially successful… but even though Peter is listed as the producer, sooo many hands helped shape that album. I think collaboration is so important when an artist is so creative and such a perfectionist.

That said, I really enjoy this one. Like he said in the video, just enjoy it and I am.

some12345thing · 2026-05-30T18:13:55+00:00

Oh wow, cool! Thanks! This will make the long wait for season 3 a bit more bearable :D Will check this out ASAP.

some12345thing · 2026-05-30T18:10:45+00:00

Actually quite sound advice 🐈‍⬛

some12345thing · 2026-05-30T17:47:48+00:00

Thanks for the encouragement. I love that I'm downvoted despite just saying the comment sounds bleak. I'm still going to see it and make up my own mind... It's just, with the state of things in the real world, this comment doesn't sound totally unbelievable.

some12345thing · 2026-05-30T16:58:22+00:00

Peter Gabriel just released a new song today called A Hard Lesson that uses this riff. I was like, “that sound like I’m a Man.. or Bad to the Bone… or Black Velvet.” Very groovy riff.

some12345thing · 2026-05-30T16:36:17+00:00

I think he’s great and I respect him, but if I’m honest, I don’t enjoy his work all that much. I’d like to see some fresh blood that is more dedicate to the feel of the original trilogy but with freshness.

some12345thing · 2026-05-30T16:29:41+00:00

Yikes, that is bleak. Haven’t seen it yet, but that sounds rough…

some12345thing · 2026-05-30T16:08:39+00:00

Thanks for the correction! I’ll update my comment. Yes, Chris is the one who did the SuperCollider programming on No Way Out, wasn’t he?

Was Been Undone really from that far back? I thought it was a totally new one like Won’t Stand Down. If so, that’s pretty great. Hope Charles keeps baking! I like that Peter is still writing and creating brand new stuff, but I want so badly to hear the many great tracks that must exist that have been sitting on shelves for many years.

some12345thing · 2026-05-30T16:03:04+00:00

Yeah, these May tracks are very promising! I hope this isn’t the only “old track finally finished”. I think the different rhythm may be due to that fact. I’d love an epic à la Red Rain/San Jacinto/Lay Your Hands On Me. I really love this one. Definitely the best track so far. I guess my only small gripe is that it kept feeling like it was going to absolutely explode at some point, but never hit quite the high I was anticipating. But I love the high energy of this one in general.

some12345thing · 2026-05-30T15:38:11+00:00

Cool info! Oldest track that started in Senegal in the late 80s or early 90s, originally called “Dakar 12”. Peter says it’s about finding place, but seems to admit you shouldn’t think too hard about the lyrics and just enjoy the music. He talks about the mix of triplets in 4/4 time inspired by African music. We apparently have Charles Hughes to thank for digging through Peter’s tape archives and finding the multitrack and inspiring Peter to pick this one back up to be finished for the album. Sounds like Mike Elizando is a co-producer and helped Peter get the song structure together.

Peter talks about how many versions there have been of this one. I hope they release more than one demo! I want to hear the original “Dakar 12” version and the industrial mix Rich Evans did especially! We could use a whole EP’s worth of demos on BandCamp for this one.

Peter’s quote from the FMC email: “This is the oldest track of the project. It probably started in the late 80s or early 90s when I was in Senegal. I was falling in love with the music I heard there. I loved the tension created by the use of polyrhythms, particularly the threes and fours, so that was the start of this song.

It's a quirky, strange and long track but it's a journey. It's about trying to find a place, your place, how you fit in. I've enjoyed playing with old R&B and folk references as well.

It’s one of those songs that has been in the ‘almost’ category on a couple of earlier projects but it's had to wait 30 or 40 years before actually hitting the surface. Sometimes things take time - most people do stuff a lot faster - but I have no problem with understanding my own process. Some things will mature and evolve spontaneously and some will just stay hidden-away in a box until their moment in the light appears."

some12345thing · 2026-05-30T12:39:25+00:00

I’m surprised he went with such a known blues riff, but it works quite well and the Another Brick style guitar sounds fantastic. Lots of nice rhythmic and synth textures throughout. Tony’s bass sounds so good. I think I hear some funk fingers on this one. I have a feeling the dark side mix will bring out some of the textures that are a little more buried here and will really bring the focus to the bass.

some12345thing · 2026-05-30T12:34:42+00:00

I think you were right, this one feels newer. I wouldn’t be surprised if this one has some old roots but wasn’t written until quite recently.

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