A week or so ago we decided to put the plug-ins found in the latest version of the PreSonus Fat Channel up against what are considered to be the best plug-in models around. As we said at the time we're not going to name brands but suffice to say the plug-ins we are comparing are from well-respected brands and cost a great deal more than Fat Channel... of course, it's free! Here is the result of both listening tests.
We decided to put the plug-ins found in the latest version of the PreSonus Fat Channel up against what are considered to be the best plug-in models around. Can you tell the difference?
There are many cases where we may find ourselves asking - do we really need another "insert any plug-in type here" but when it comes to dynamic EQ's, the more the merrier in my opinion. Having said that - the good people at Sonnox have just released the Oxford Dynamic EQ plug-in!
Writer’s block can be an issue that some people may struggle with. In this series Justin looks at some potential approaches & solutions.
In this video, Marcus Huyskens demonstrates using the Waves DBX 160 in parallel on vocals, in order to help level off a performance, while still retaining the dynamics, and raising the apparent loudness.
In this video, Marcus Huyskens demonstrates using the Waves DBX 160 in parallel on drums, to add solid low-end reinforcement to the kick, crack to the snare, and raise the apparent loudness.
Check out this awesome in depth video review of the Sonnox Limiter - courtesy of Peter Barter from our sister site Pro Tools Expert.
Check out this nice find from our sister site Pro Tools Expert - For a limited time, you can get the T-RackS Opto Compressor ($80 Value) FREE until February 16th, 2017.
In this video, Marcus Huyskens goes over using the Waves DBX 160 in parallel to bring out low end detail, and and help thicken up a bass track.
In this free video tutorial in PreSonus Studio One - Marcus Huyskens demonstrates how to smooth out a vocal Pre-Compression by using volume envelopes to tame harsh sibilant consonants, and correct general level discrepancies in a performance.
In this 7th video of an 8 part free Mini Series, Marcus Huyskens demonstrates the vocal processing chain used on the vocals & vocal chops. He starts off by adding some grit using the Kramer HLS, then adds some stereo width using the Doubler2. He then adds some ambience using the RVerb, and reigns in on some harsh frequencies using the C4. Lastly he turns to the CLA-76 to tighten up the overall dynamics, and sends them out the the H-Delay, and Sound Shifter to complete the chain.
In this free video tutorial in PreSonus Studio One, Marcus Huyskens demonstrates using the Waves L1 Limiter plug-in on a per track basis to add some limiting to a drum loop in PreSonus Studio One.
In this video, Marcus Huyskens demonstrates using the Waves L3 MultiMaximizer on the Mix Buss in PreSonus Studio One.
In this free video tutorial, Marcus Huyskens demonstrates using the fantastic Kramer Pie Compressor - by Waves, on a male vocal track in PreSonus Studio One.
We have featured a number of posts from Sreejesh Nair's excellent blog. On this occasion we are going to feature an excerpt from Sreejesh's post entitled The Light Bulb Theory of Audio. We have been talking about loudness and intelligibility for broadcast content but what about music. We are seeing changes in the way music is being delivered with more and more streaming services normalising to loudness but there are other issues at play here too. Over to you Sreejesh...
It is no secret that the Loudness war is real. Every single song competed to be the loudest thereby bringing a lot of associated distortion to it. Today, this is being compensated by iTunes Sound Check, YouTube Loudness control etc. There is also a recommendation provided for Loudness of Audio Streaming and Network File Playback by the AES and the paper was Edited by Bob Katz.
Until then, it would be interesting to see how it has been affecting us over time. The first thing that comes to mind is the dynamic range. We have seen this reduce over the years to a point where there absolutely is nothing left. Reducing dynamic range may make the song exciting or “Pop” out. But that also means using more aggressive compression. Bringing out the lower levels and in a way killing transients. Over time, this means we are getting used to hearing music in the least enjoyable way. We claim nostalgia for older songs but loose out on the nuances when we hear it today. People today find it difficult to enjoy classical songs or scores because they are too long and take time to register. (Not all, but definitely a big number based on Age). A good example of creating this sense can be seen in the Dark Knight where Hans Zimmer scores the strings to forge the urgency and tension even though the contrast was that the scenes were cut with longer stays in the shots. (Try watching it without sound and it will be apparent!)
On speaking to a few friends, I have also noticed that the attack and release of compressors have also got shorter! Now that’s a strange thought and I cannot generalise for that but it is something to keep a note of and understand how all of this may be related. The sad fact is today radio stations will play MP3s, have compressed voice overs, less music play time, more speech, rising pitch, and so on. We may be creating a generation that is used to hearing codec distortion, masking, less transients, and not hearing real instruments in the real spaces. Not to mention non linear distortion in headphones and its effect on the perceived quality and the acceptability of quality that we have come to agree on over the years. A study on this has been undertaken by Steve F. Temme, Listen Inc., Dr. Sean E. Olive, and Harman International. That is something we need to make them hear.
We have a responsibility to deliver good sound not for the sake of music, but for the sake of Good Quality. Once quality is set as a standard, the only competition would be talent and artistry. We need to get this back. We need the Quincy Jones, Sir George Martin, and other legends for our generation. One day, we will. The Loudness Norms, effective EQ, and compression are the first steps we take.
When should you master you own tracks and when you should send to a Professional Mastering engineer. Paul Drew talks through the do's and Dont's.
Inspired by classic British units from the 60s and early 70s you can now add body and character to your tracks with a Console 1 strip plugin. Paired with the smooth workflow and hands-on control delivered by with Console 1, Softube's British Class A For Console 1collects coveted and distinctive sounding units from the pro audio world in a single channel.
In this video review Paul Drew from Production Expert looks at the new Slate FG 116 Blue Compressors for VMR.