This is a brand new release from Loop Loft and Pro Tools Sesssions included in this bundle are exclusive to Pro Tools Expert.
As one of the most in-demand session drummers of the past 20 years, Matt Chamberlain’s extensive list of recording credits is a veritable who’s who of the music industry including Peter Gabriel, The Wallflowers, Fiona Apple, Kanye West, David Bowie and Elton John (just to name a few). With the release of Matt Chamberlain Drums, songwriters producers and engineers around the world now have unprecedented access to the unmistakable “vibe” of the drummer behind countless hit songs.
Recorded at Chamberlain’s personal studio inside of the famed Sound City complex in Van Nuys, California, The Matt Chamberlain Pro Tools Drum Sessions captures an incredible range of beats, sounds and styles. Nine complete Pro Tools sessions each give you dozens of rhythmic and sonic options ranging from organic brush grooves, to driving rock, to vintage soul, to dynamic and experimental cinematic textures.
Included in the collection are over 380 beats, fills and breaks, all recorded in pristine 24 bit, 96 kHz audio. In addition, the Pro Tools Sessions give you access to 15 channels of separate audio tracks, allowing you to mix every element of Matt’s drum kit, including kick, snare, toms, overheads and a variety of room mics. The download also includes loops in REX2, AIFF, WAV, Stylus RMX and MIDI, allowing you to utilize the beats in any DAW or loop plug-in.
Matt Chamberlain Drums Specs:
- File Size: 7.6 GB for 96 kHz Multitracks (Pro Tools)
- File Size: 667 MB for 48 kHz Stereo Loops
- 387 Grooves, Fills & Breaks
- 9 Pro Tools Sessions
- 73 Samples (Three Drum Kits)
- Sessions include (Audio & MIDI):
- 72bpm Cinematic Mallets
- 84bpm Swunken Pocket
- 92bpm Folky Brushes
- 100bpm Rawk Roll
- 107bpm Funky Trixons
- 110bpm Abstract Linear
- 115bpm Tom Tom Attack
- 122bpm Dance Muzak
- 180bpm Three Four
- Instant Download
- 100% Royalty Free
- 24 Bit 48 KHZ Stereo Loops
- 24 Bit 96 KHZ Multitracks (Pro Tools)
- WAV, REX2, Stylus RMX and AIFF (Apple Loops) Formats
LiquidSonics’ Reverberate is a highly efficient hybrid convolution reverb audio processor offering true zero-latency operation for two separate, stereo impulse responses for Mac and PC supporting AAX, RTAS, VST and Audio Units formats. Check out Mike’s Show & Tell review to get a sesnse of what is under the hood of this convolution reverb plug-in.
Reverberate provides a rich and dynamic reverb from impulse responses by modulating an amalgamation of two, separately controllable true stereo IRs using an LFO. Further modulation is possible using the post-processing effects; an all-pass interpolator chorus and delay unit provide a fuller sound and an over-sampled analogue prototype paragraphic equaliser is provided with dual LFOs. These features make for a livelier, more creative sound than typically associated with some convolution reverbs.
In addition to loading impulse responses from audio files Reverberate is able to generate supplementary independent early reflections and tails for additional control over a room’s sonic characteristics.
- True stereo convolution reverb
- Available for Intel Mac and PC
- 32/64-bit VST, AU, AAX, RTAS
- Dual IR for true-stereo capability
- Early/late IR pitch modulation
- 250 presets, 400 MB IRs
- Early reflections module
- Zero latency (or up to 8192 samples)
- Wav, SDIR, Aiff and Flac support
- Integrated sample browser
- Integrated presets browser
- ADSHR envelopes with linear, log and exponential shape control
- 50%-150% stretch
- Double oversampled EQ with modulation per IR
- Pre-delay up to 500ms
- Post-FX linear-interpolation chorus
- Post-FX modulated delays
- Post-FX EQ with LFO modulation
- Impulse response chaining
LiquidSonics Reverberate System Requirements For 1.x Releases
- Windows XP to Windows 8 (VST, RTAS, AAX)
- Intel Mac - Leopard 10.5.8 to Mavericks 10.9.x (VST, AU, RTAS, AAX)
Recently we offered the TAL Bassline 101 as a deal and a lot of you took up the opportunity to get that great monophonic bass synth plug-in. As one of this month’s deals we are offering another TAL product which is an emulation of a very popular hardware synth.
TAL-U-NO-LX is a complete rewritten emulation of the popular hardware with a new engine and GUI. Up to date zero feedback delay filters and carefully calibrated controls make this synth a good replacement for the analog device with all the advantages software plugins have. As an addition, the TAL-U-NO-LX also supports portamento and different filter LFO waveforms and some more useful features. An arpeggiator with different sync modes and hold function is also included. A very fast envelope with a smooth roll-off, emulated inaccuracy and a very smooth filter sound gives this synth the typical sound. The synth was calibrated after a hardware device that’s property of TAL.
- Self resonating zero feedback delay filter (24dB LP).
- Filter range up to ~40kHz (depends on the sample rate).
- Calibrated and tuned after TAL’s hardware device.
- Midi learn / automation for all controls.
- Improved alias free oscillators for an authentic sound also @ 44’100Hz sampling rate.
- Arpeggiator with different sync modes (host, midi clock, not on).
- Portamento and mono mode.
- LFO manual trigger button.
- Sustain pedal support.
- Up to 12 voices.
- New file based preset system for transparent preset management.
- More than 300 factory presets by different sound designers (FMR, Particular - Sound, TAL).
- Original hardware “Factory Bank A” included.
TAL-U-NO-LX System Requirements:
Windows: Windows XP or higher (32 / 64 bit)
OSX: OSX 10.6 or higher (32 / 64 bit).
AAX: Pro Tools 10.3.6 or higher
A couple of months ago we offered the very cost effective ReVerberate plug-in from Acon Digital and a lot of you bought it. This month we are offering their DeVerberate plug-in which is desigend to reduce the reverb in existing recordings. Check out Mike’s Show and Tell Review to see how he got on with DeVerberate.
Acon Digital DeVerberate
The balance between direct sound and reverberation is essential for the acoustic quality of audio recordings. DeVerberate is a reverb reduction plug-in that can attenuate or boost the reverberation that is already present in recorded material. The novel real-time algorithm works equally well with mono as with stereo recordings and splits the incoming audio into an estimation of the direct sound and the reverberated sound which can then be recombined freely. The improvement process can be monitored visually using the spectral representations of the input and output signal as well as of the estimated reverberation.
Acon Digital DeVerberate Features
- Separate adjustments of the direct sound and the reverberation levels
- Manual adjustment of the decay time of the original reverberation
- Frequency spectrum representation of the of the following signals:
- Input signal
- Output signal
- Estimated reverberation
- Frequency emphasis filter for the the reduction level
- High and low shelving filters with variable slopes (-3 to -96 dB / octave)
- High and low peak filters with adjustable bandwidth (0.1 to 3.0 octaves)
- Graphical representation of frequency response
- Editing of filter settings through handles in the frequency response curve
Programming Drums has to be one of the more difficult tasks when dealing with Computer Music production especially Drums that sound real! With this in mind musician and author Chris Nothdurfter has decided to share his tried and tested techniques in a new eBook #Hit It - The Ultimate Guide To Programming Drums.
We are teaming up with Chris to give you an exclusive opportunity to make a great discount saving and learn those essential skills to give your drums that level of realism they deserve, Whether you are a beginner needing total guidance from the start on how to construct a basic beat or a long time programmer that is searching for techniques to get that extra level of realism this book is sure to reward you.
Become your own drummer!
Learn how to create a variety of grooves, from simple “Four to the Floor” to raging Blast Beats1, and how to come up with amazing grooves that perfectly fit any song on your own.
150 groove and fill examples with screenshots to get you started. You will learn how these examples were created so you can come up with your own grooves by applying the principles laid out in the book. This gives you literally endless possibilities for your own drum tracks.
Apply the given principles to any recording and drum software. No matter what DAW (Digital Audio Workstation) and VST instrument you use: as long as both support the MIDI protocol (basically all of them do) you are good to go. (No external MIDI hardware required.)
Dedicated chapters on groove principles for Pop, Rock, and Metal.
Detailed instructions on how to make grooves sound realistic and just like a human would have played them. This part of the book covers how to alter quantisation and velocities effectively to make your drum beats feel as natural as possible.
This is the 1st part in an ongoing weekly series looking at the audio post production workflow. We have enlisted the help of top end professionals in their respective fields to walk us through what they do and sharing some tips and tricks along the way.
The series will be based on TV drama in the UK and these days takes a lot from the film workflow but also a lot of what applies is very similar in other genres all be it not on as big a scale.
What Is An Assistant Editor?
We start with Conor Mackey who is an assistant editor. Don’t under estimate the impact a good and careful assistant editor can have on a project long after it has left their control. So many things can more or less smoothly depending on the care people like Conor take at the start of a project journeying though the post production workflow. Over to you Conor….
The assistant editor is the librarian, processor and archivist of both the raw picture and sound media (the rushes), and the paperwork from the set.
Metadata Is a Big Help
Much of my responsibility as an assistant editor is syncing the picture with the sound. This task is helped by the metadata embedded in the sound files.
Software plug-ins are so good these days. Most of them are excellent value and in spite of all of my reluctance to admit it, the best sound every bit as good as hardware and if you buy a plug in, you have as many instantiations of that plug-in as your system will allow. However there are still areas where plug-ins still lose out to hardware. One of these is the intangibility of software. While a plug-in is convenient in terms of workflow and recall, if your plug-in manufacturer doesn’t support a new format, DAW version or OS you quickly realise just how intangible software really is.
My first thought when I came across the Blackstar ID:Core series of amplifiers was that here was hardware for less than most plug-ins cost. While not really a “grown up” guitar amp, was the Core suitable for use as a hardware equivalent of a plug-in? If so was it worth considering as an alternative to software amp modelling?
How does the ID series perform?
The product which drew my attention was the ID:Core 10. A tiny stereo 10 watt amp which offered USB connectivity and the possibility to reamp over USB. If it was possible to incorporate this amp into a Pro Tools workflow without too many compromises it might be a sensible alternative for some. The amp is small and light, power is provided by a good quality external PSU. This is a stereo amp (5w+5w) and frankly sounds far bigger than it has any right to with its dual 3” speakers. It won’t produce any real bass but looking for a genuinely big sound from such a small box is missing the point. It’s a convenient, fun amp with enough power to give a satisfying playing experience in a domestic setting and if its not enough there are 20 and 40 watt versions available. I think the point of this amp is best illustrated by the fact that although I have Pro Tools, some nice monitors and Eleven all ready to go, since I’ve had this little amp I’ve been playing the electric guitar far, far more than usual. This is similar to the way that although I have a weighted, 88 note keyboard controller, I hanker after a standalone digital piano with built in speakers as if I have to start up a computer to play, inevitably I end up using the computer, not the piano.
For some the arrival of the DAW was a dream come true, to be able to track, edit and mix in one application, what’s not to like. For other people Pro Tools was a replacement for their tape machine and even now that’s what Pro Tools is.
In the last few years a new generation of hardware lovers has emerged, so some who mixed entirely in the box have now returned to using a mixer and /or outboard hardware. For others the in-the-box workflow is just what they dreamed of. So in this poll we would like to know how you work with Pro Tools, are you fully in the box or is it just part of a more complex audio workflow? Did you start in the box and then return to hardware, or did you jettison hardware in preference for a fully in the box workflow.
Please take our poll and let us know what you use in addition to your audio interface and let us know in the comments why you use the workflow you have, how long you have been using that workflow, had it changed, if so then why?
Positive Grid have announced BIAS Desktop, which is a guitar-amp designer and modeler plug-in for both Mac OS X and Windows. It will be available in AAX Native a s well as RTAS, VST, and Audio Units formats and features a modeler engine, Amp Matching, which is apparently a pioneering first for DAW plug-ins, BIAS Expansion Packs and the ToneCloud preset-sharing platform. Amp Matching can analyse live or recorded guitar tones and recreate them within BIAS Desktop. Once the tone is captured and replicated, the user can save it as a custom preset and share it with other musicians on Positive Grid’s proprietary social network, ToneCloud. Users can also upload their amp creations to ToneCloud and share their custom presets with other users.
Positive Grid plans to release BIAS Desktop in the third quarter of this year. In the meantime they are inviting experienced and talented individuals to join them in shaping this project and give early feedback prior to the product’s release. If you are interested you can sign up here.
Sampling supremo, post editor and friend of the blog Marcus from Bad Cat Media gives a nice video tutorial on using Slate VCC in Pro Tools.
The Pro Tools video tutorial also gives a lot of shortcuts.