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Adding life to a source, mix, or master isn't always easy, unless you're using the Black Box Analog Design HG-2. Dubbed a "saturation processor," Black Box's line-level stereo unit can add saturation, harmonics, and natural compression to any signal passing through it. But this isn’t a one-sound, set-it-and-forget tool. The HG-2 offers a remarkably wide range of possibilities, from light color to full-on fuzz-like fury.
In terms of the HG-2’s signal path, there are two routes at play. The main path runs from the input transformers into a Pentode amplification stage, followed by a Triode stage, then a passive output section, and finally a pair of output transformers. There's lots of magic just in this regular signal path for adding harmonics and saturation, and each stage features its own distinct control knob.
Alongside this main path, there is a parallel signal path that can be customized and blended in using the controls on the left side of the HG-2. This section is driven by a pair of 12AT7 tubes, with an alternate tube set available via the Alt Tube button. The parallel path features a three-position frequency selector (Low, Flat, High) and a Saturation control that determines how much of the processed parallel signal is fed back into the main path ahead of the Pentode stage.
The HG-2 also features an Air switch that offers some top-end lift. When using this feature, the boost is inserted into the main signal path at the Triode stage, and the lift begins around 10 kHz and increases as it approaches 20 kHz.
Vintage King's in-house engineer Bryan Reilly recently put the Black Box HG-2 to work on a wide range of sources, including mono and stereo tracks, as well as two full mixes. Continue on below to hear just how versatile this best-selling saturation processor can be.
Follow along as we explore more than 30 examples of the HG-2 in action. Each source section below details the complete signal chain for tracking, along with the exact HG-2 settings used for each sample. All sources were ultimately fed through BURL Audio BAD4 converters and into the DAW.
We're kicking off this look at the HG-2 with two different bass tracks. Both were recorded by plugging a 1978 American Fender Precision bass straight into the DI of an API 3124V. These examples best show off the versatility of the HG-2, which can go from a light saturation bump to some fuzz sounds in a matter of moving just a few knobs.
Bass #1 - Example #1 Sat Freq: Low Pentode:One O'Clock Saturation:Nine O'Clock Alt Tube: In Triode:Two O'Clock Air: Off Trim: Midnight Output:11 O'Clock
Bass #1 - Example #2 Sat Freq: Flat Pentode: One O'Clock Saturation: 11 O'Clock Alt Tube: In Triode: One O'Clock Air: In Trim: Midnight Output: 11 O'Clock
Bass #1 - Example #3 Sat Freq: High Pentode: Three O'Clock Saturation: Three O'Clock Alt Tube: N/A Triode: Two O'Clock Air: Off Trim: Midnight Output: 10 O'Clock
Bass #2 - Example #1 Sat Freq: High Pentode: Five O'Clock Saturation: Three O'Clock Alt Tube: In Triode: Two O'Clock Air: In Trim: Midnight Output: 10 O'Clock
Bass #2 - Example #2 Sat Freq: High Pentode: Five O'Clock Saturation: Three O'Clock Alt Tube: In Triode: Two O'Clock Air: In Trim: Midnight Output: 10 O'Clock
To demonstrate how the HG-2 responds to different guitar tones, Bryan recorded two performances using his Les Paul Traditional Pro and a vintage Ampeg Gemini I, one clean and mellow and the other with a bit more grit and edge. Both examples were recorded with a Royer R-122 running into an API 3124V.
Electric Guitar #1 - Example #1 Sat Freq: Low Pentode: One O'Clock Saturation: 10 O'Clock Alt Tube: In Triode: Two O'Clock Air: In Trim: Midnight Output: 11 O'Clock
Electric Guitar #1 - Example #2 Sat Freq: High Pentode: Midnight Saturation: Five O'Clock Alt Tube: N/A Triode: One O'Clock Air: In Trim: Midnight Output: Midnight
Electric Guitar #2 - Example #1 Sat Freq: High Pentode: Midnight Saturation: Five O'Clock Alt Tube: In Triode: One O'Clock Air: In Trim: Midnight Output: 11 O'Clock
Electric Guitar #2 - Example #2 Sat Freq: Low Pentode: One O'Clock Saturation: Two O'Clock Alt Tube: N/A Triode: 11 O'Clock Air: Off Trim: Midnight Output: 11 O'Clock
Bryan tracked two different examples on the drums, including faster and slower beat patterns. Let's take a look at his basic set-up for recording and mixing both drum takes before the HG-2 was used.
Kick In: Shure BETA 52A > Neve 1073LB > API 560 > SPL Transient Designer
Snare Top: Shure SM57 > Neve 1073LB > API 550A
Snare Bottom: Shure SM57 > API 3124V
Tom 1: Sennheiser MD 421 Kompact > Focusrite Red 1
Tom 2: Sennheiser MD 421 II >Focusrite Red 1
Overhead: 2x Warm Audio WA-FT Fentone (Blumlein Configuration) > UnderTone Audio MPDI-4
Room Mic: AEA R84 > API 3124V
Drum Bus: 2x API 550A > SSL G-Comp
Drum Reverb: Lexicon PCM60 (Room Setting)
Fast Drums - Example #1 Sat Freq: Low Pentode: 11 O'Clock Saturation: Nine O'Clock Alt Tube: N/A Triode: Three O'Clock Air: In Trim: Midnight Output: 11 O'Clock
Fast Drums - Example #2 Sat Freq: Low Pentode: One O'Clock Saturation: 11 O'Clock Alt Tube: N/A Triode: 11 O'Clock Air: Off Trim: Midnight Output: 11 O'Clock
Fast Drums - Example #3 Sat Freq: Low Pentode: Two O'Clock Saturation: Three O'Clock Alt Tube: In Triode: 10 O'Clock Air: Off Trim: Midnight Output: One O'Clock
Fast Drums - Example #4 Sat Freq: High Pentode: One O'Clock Saturation: Midnight Alt Tube: In Triode: 11 O'Clock Air: In Trim: Midnight Output: One O'Clock
Slow Drums - Example #1 Sat Freq: High Pentode: Two O'Clock Saturation: Midnight Alt Tube: In Triode: 11 O'Clock Air: In Trim: Midnight Output: One O'Clock
Slow Drums - Example #2 Sat Freq: Low Pentode: 10 O'Clock Saturation: One O'Clock Alt Tube: In Triode: Midnight Air: Off Trim: Midnight Output: Two O'Clock
Slow Drums - Example #3 Sat Freq: Flat Pentode: Midnight Saturation: 11 O'Clock Alt Tube: In Triode: Two O'Clock Air: Off Trim: Midnight Output: 11 O'Clock
Slow Drums - Example #4 Sat Freq: Low Pentode: One O'Clock Saturation: Four O'Clock Alt Tube: N/A Triode: One O'Clock Air: Off Trim: Midnight Output: 10 O'Clock
Olivia Dear is back for a few more vocal examples on this Hear The Gear, and this time Bryan is using an Austrian Audio OC-S10 plugged into the UnderTone Audio MPDI-4 for tracking.
Female Vocals- Example #1 Sat Freq: Flat Pentode: Two O'Clock Saturation: Nine O'Clock Alt Tube: In Triode: Midnight Air: In Trim: Midnight Output: Midnight
Female Vocals - Example #2 Sat Freq: Low Pentode: One O'Clock Saturation: Five O'Clock Alt Tube: In Triode: Midnight Air: In Trim: Midnight Output: 11 O'Clock
For recording these vocal examples from Mike Leslie, Bryan is using the Peluso P-414 with the Shadow Hills Industries Forged Mono Gama preamp.
Male Vocal - Example #1 Sat Freq: Low Pentode: Two O'Clock Saturation: 11 O'Clock Alt Tube: In Triode: Midnight Air: In Trim: Midnight Output: 10 O'Clock
Male Vocal - Example #2 Sat Freq: Flat Pentode: Two O'Clock Saturation: Two O'Clock Alt Tube: In Triode: 10 O'Clock Air: Off Trim: Midnight Output: 10 O'Clock
When tracking Bob Mervak playing piano for these samples, Bryan utilized a pair of Neumann U 87 Ai microphones with a two Solid State Logic 9000 channel strips.
Piano - Example #1 Sat Freq: High Pentode: Two O'Clock Saturation: Two O'Clock Alt Tube: In Triode: 11 O'Clock Air: In Trim: Midnight Output: 11 O'Clock
Mix #1 - Example #1 Sat Freq: Low Pentode: One O'Clock Saturation: Nine O'Clock Alt Tube: In Triode: Midnight Air: In Trim: Midnight Output: 11 O'Clock
Mix #1 - Example #2 Sat Freq: Flat Pentode: One O'Clock Saturation: 11 O'Clock Alt Tube: In Triode: Midnight Air: In Trim: Midnight Output: 10 O'Clock
Mix #1 - Example #3 Sat Freq: High Pentode: Three O'Clock Saturation: 10 O'Clock Alt Tube: In Triode: 10 O'Clock Air: In Trim: Midnight Output: 11 O'Clock
Mix #2 - Example #1 Sat Freq: High Pentode: Midnight Saturation: 11 O'Clock Alt Tube: In Triode: Midnight Air: In Trim: Midnight Output: Midnight
Mix #2 - Example #2 Sat Freq: Flat Pentode: One O'Clock Saturation: Eight O'Clock Alt Tube: N/A Triode: Midnight Air: In Trim: Midnight Output: One O'Clock
