At the beginning of 2016 I posted my top 4 Limiter Plug-ins. I decided to continue this theme and list my favourite delay plug-ins. Delays are a great alternative to using reverb plug-ins. If used correctly then delays are a good way of creating spaces around an instrument without having to reach for a reverb that can often muddy up a mix with long reverb tails. Creative uses of delay bring sonics to a mix that can help portray certain emotional cues and vibes in a mix.
Just in time for the post on the letter J the Marshall JMP 2203 became available with the release of the v8.5 software. This classic 100w valve head of the late 70s is famous for its high gain sounds and its extreme volume. I take a tour of the plug-in with a little help from Paul Drew.
At the beginning of the year we reported that it was still possible to buy upgrade plans with Activation Cards from authorised Avid dealers whilst stocks last. Don't forget you only have one week left to do this before you will have to buy your upgrade and support plans a the new prices. That means for example a Pro Tools 12HD upgrade is going up from around £399 ex vat to £659 ex vat.
A mini-flurry of posts on an unusual aspect of clip croups has been prompted by the excellent tip submitted to the podcast by community member Nando Eweg on using clip groups. This tip and an upcoming ADR tip soon to be published by Alan both exploit the slightly counter intuitive fact that a clip group can be created even when it doesn’t contain any clips.
Tonelux Tilt is essentially a one-knob equaliser from our friends at Softube which lets you get your sound in shape in no time. By adjusting the Tilt knob you can quickly go from thin to fat, and make the first coarse adjustments to your tracks before you move on to more detailed tweaking.
Our friends at HHB Communications Ltd recently supplied and installed an interesting music production recording system at the Alness campus of North Highland College, part of University of the Highlands and Islands (UHI) in Scotland which they describe as a hybrid system.
There is an ongoing never ending debate on if you should put your EQ pre or post the compression. Some say that they get better results by doing the EQ pre and others argues that EQ post compression helps them to have better control when tweaking. So what is right and what is wrong? This is my personal view.
In another great post from Sreejesh Nair's excellent blog we reproduce here an article Sreejesh wrote to try and answer some questions he received after making the Mixing in Atmos video and will also help to explain a little more about working in Dolby Atmos inside Pro Tools. Over to you Sreejesh...
With the announcement that AIR have released VST and AU versions of the AIR effects plug-ins which have been part of Pro Tools since version 8 we have all been prompted to look again at these effects which we take for granted as Pro Tools users. Some of them get used regularly, others not so much but how consistent are the favourites across the team?