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.
Russ, Mike, James and Dan chat through issues from the week's news as well as the usual tips, tricks and questions answered.
Our friends at iZotope today announced a new plugin the DDLY Dynamic Delay. Even better it's free until March 10th, after which it will cost $49.
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.
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?
With two large companies announcing the end of cloud based services it does make one wonder how much we should trust our valuable work to the cloud. We give some tips for those with concerns.
When using an external clock source with Pro Tools, you may on occasions accidentally set the clock to a different sample rate to that of the session. I've done this myself on a couple of occasions and it causes speed issues for any audio you record.
In this multi part video, James talks to Tom Waterman, Technical Director at Audient ,about modern recording techniques, the science of tone analysis and the amazing Audient ASP800 with HMX and Iron channels.
What happens when a show you're working on and have already premixed, undergoes a massive recut on the Friday night, with lots of new dialogue takes, and needs to be ready by Sunday night? What if you're at home trying to enjoy some family time when that recut comes in?
Here is the last of 4 free tricks from the 101 Mixing Tricks coaching course by Bobby Owsinski. The venerable Universal Audio 1176 limiter has been used on countless hits, and there are a few go-to settings that engineers have used for decades. Here's one of used by legendary engineer/producer Bones Howe that can work in so many situations.