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Anaheim Hilton Hotel Concurrent with The 2019 NAMM Show Hands-On Training. Technical Presentations Career Development. Expert Presenters Location: Anaheim, CA USA Venue: Anaheim Hilton Hotel More info at the. The first thing I do in any project is instantiate the PAZ Analyzer on the master buss. I mix with my ears, but goddamn if that plugin isn't hella helpful when I really need to know what's going on in a nitty-gritty way.
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I'm a big fan of RCompressor. It beats Logic's stock compressor in a lot of instances and I generally find it to be a flexible tool for all sorts of DRC. Not always my first choice, but it rarely fails me when I fall back on it. The Warm setting is awesome for bass guitar and drums.
REQ2 ends up on a lot of channels as a bandpass filter for trimming excess subs and sizzle out of midrange elements. But in general, I find REQ rather unimpressive compared to many stock EQs. H-Delay is my go-to delay.
I love the modulation, Lo-Fi button, filters, and ping-pong setting. Very flexible, and ideal for dark tapey delays and weird chorus effects. Kramer Tape is a very dirty, colorful tape sim. It's not something I would 'print' a mix through in most circumstances, it's a bit much for that, but I like it on individual elements for fluttery grit. Its 'head bump' is really pronounced, and the 7.5 ips setting can really make yo 808's thump. You can push the breakup pretty fucking far with this one for extreme saturation effects or lo-fi madness, but it's really unsubtle no matter how you deploy it. API EQs are my go-to for color and boosting.
I enjoy the restriction that comes with the semi-parametric nature 550A/B, it keeps you from getting carried away. I deploy the 560 on the master buss, to impart an extremely subtle smiley curve to the mix.
API 2500 often sits on my master bus and/or drum submix. The CLA comps (2A, 3A, 76) see a fair deal of use, but it's generally conservative. I think they fall apart when pushed hard. The 76 is killer for extreme parallel drum compression, though. I also like it on aggressive vox.
You just have to learn to dial that baby in - it's got idiosyncrasies for sure Can't hate on L2 too hard when it comes to quick-and-dirty pseudomastering for client reference mixes, etc. L3 and up sound shitty in comparison, not sure what they decided to switch up there. L2 is actually great for shaving transients off of jangly acoustic guitar - if you are conservative, it can be remarkably transparent compared to compression or leveling.
Sometimes I use it to tame unruly submixes as well. I'm a big fan of Waves Loudness Meter for mastering applications - that info is really useful if you know how to interpret it. I also really like C1 Gate. Equally useful for transparent control applications, and extreme pumping or sidechain effects in synthesis applications MaxxBass is dangerous but it has its uses.
I use it for kick drum repair more than anything else. I prefer to reinforce bass instruments with straightforward saturation. Liberal MaxxBass abuse will cloud your lowmids pretty quickly Aphex Exciter is another dangerous one, but an extremely conservative approach can really add some zip to a finished mix and help with its perceived loudness. Element is one of my favorite softsynths!
I ALWAYS turn off those fucking analog switches, though, unless I'm feeling absolutely CRAZY. Unimpressed with the SSL strips. Their all-in-one nature is appealing and I don't have any issues with the gate or comp, but the EQ strikes me as pretty unmusical when stacked up against the API offerings. I do like the dedicated hi-/lo-pass filters though. I have never used Ozone. I know some guys who do great work with it, though.
It's like anything else - realize nothing is infallible, no plugin is magic, understand its strengths and weaknesses, and don't abuse it. I think there is something to be said for suites like Ozone, where the tools are designed specifically to work together. On the other hand, you can end up with this temptation to deploy every little widget whether you need it or not. Less is more, ESPECIALLY w/r/t mastering. I don't do much mastering, mostly a recording/mix engineer, but I have never felt limited by Waves offerings. That said, waves plugins are aging and as others have mentioned, Fabfilter, UAD, etc.
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Waves does it again. Outstanding EQs and Compressor. I bought the API collection because I am starting recording artist on a budget and Amazon had it at a great bargain. For those of you on a budget and just beginning on studio work, this is a great starter. The API collection is also part of the Waves Classics Bundle which includes API, V Series and the SSL plug ins.
However, that bundle comes at a steep price and I already had the V series from the Gold Bundle. Now, why API vs SSL?
Well, SSL are great sounding plug ins and I won't deny that. However, the SSL plug ins are very technical when it comes to the channel strips and a bit hard use for a beginner like me. I believe you need to have some experience before working with the SSL Plug ins and what better way to start.
I'm a fan of novelty lights and lamps, and have owned many such devices over the years. There are lower prices for this product, but I think the free Prime shipping makes up the difference.
I received the product today, and the effect is magnificent- it has great ceiling coverage and produces a really fun dimensional effect. These items never have a great life expectancy, but I'm stoked- for twenty bucks, this will be quite a lot of fun for the few months I expect it to last! In a nutshell: if you like cool novelty lights or want a night light that captivates your child, this unit is well worth the price of admission, and is sure to encourage imaginations young and old alike. Edit: three months in, and the Aurora Master continues to work exactly as it did the first night; quietly and smoothly.
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Best $20 I've spent. I absolutely love these lights. They're so vibrant, but not too overpowering in color. It makes my entire room look like a galaxy with the lights off(especially with the different flashing modes). I think this is the perfect string light if you want something that doesn't look chunky, but still gives off a lot of light. The copper wire that is attached to the lights make it easy to shape and bend into any type of shape or to secure to a nail. It's also such a long string of lights that you have plenty The remote control allows easy access to turning it on/off, choosing different modes, and even a timer feature.
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