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Playlist of Mixing With Mike Plugin of the Week: Waves Q

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  • How we use Q-Clone & Q-Capture step by step

    1:54

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    Waves Q-Clone direct link:

    We start every session with a #template
    (Watch Our Template, what is it? | Part 1: Drums, Bass & Extras:
    and Our Template, what is it? | Part 2: Guitars:
    with practically all the tools use like sends, instruments, groups, guitars, bass chains, master, print and monitor tracks with meters...

    In this template is also included Q-Clone, we just have to activate it and route it. Our purpose with this is to #analyze if necessary any process that we are exploring in the middle of the mix (Watch Pultec EQ & Vintage Ampex Tape: a very exciting combination where we show out Q-Clone workflow in action:

    Let's see how we got here...

    1- First create two mono auxiliary tracks.

    2- On the first insert Q-Capture.

    3- Then assign the same mono channel to the input and output of the first auxiliary track.

    4- Now insert Q-Clone into the second auxiliary track and activate CAPTURE. (We usually start with a 16dB scale because it has more resolution and allows you to see minimal changes).

    Now anything you insert into the Q-Capture auxiliary will be reflected in #QClone. But now, if you have any other track in your session in SOLO (we said MUTE in the video, that was a mistake), Q-Clone will stop working and will put a sign that says No Transmission. The solution is as simple as putting the auxiliary where Q-Capture is inserted in Solo Safe mode (Watch SOLO SAFE in Pro Tools (Windows and Mac): Now you can work with the assurance that Q-Clone will be available at all times for your experiments.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


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  • Waves NLS | Full session summing audio comparison

    2:04

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    NLS Non-Linear Summer product page:


    Note: in this video we compare a complete Pro Tools session with the three simulations of consoles available in #Waves #NLS including the instances in the Master Bus, the multitrack (of which we only show the plugin inserted in the snare up) and the stems. In many cases the gain has not been optimized as we showed in our video How we optimize the levels of Waves NLS Non Linear Summer ( because the goal is to create variation and take advantage of the dynamic response of the Channel without adding #saturation, in others that may not be visible, the gain has been fully optimized.

    Additional NOTE: we should have made this comparison before releasing this song, for some reason now we prefer Mike over Spike which is the one that was used in the final version ???? Of course this doesn't mean that Mike is better, just that it sounds better to us in this song...now

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


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  • Waves H-EQ overview

    11:24

    this is an overview of the Waves H-eq

    Kel's Soundcloud page

  • Manny Marroquin Triple D explained and analyzed in Q-Clone

    1:21

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    #Waves Manny Marroquin Triple D direct link:

    When activated we see that the freq response is affected a little.

    Bypassing the modules doesn't change this which makes us think the plugin uses multiband filters and compression or dynamic EQs paired with some built-in analog simulation.

    If we increase the intensity we can see how certain areas of frequencies are reduced, FREQ allows fine tuning the position of the reduction.

    The speaker knob isolates the area where the module is operating allowing to hear exactly the frequencies that are being affected.

    #DeHARSHER works the same but acts in the mid high area which is the most audible part of the spectrum, this module can soften the sound.

    #DeBOXY acts in the low mid area which is where the naturalness and body of the sound lies but can also sound dark and undefined.

    Using a dynamic EQ instead of an EQ in this area can define the sound without losing warmth.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


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  • Secrets & Magic of the Pultec EQ

    3:30

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    PuigTec EQs:

    Note: the music in this video is just background music, the audio is not processed through the plugin, only Q-Clone.

    When activating the plugin we will see that simply passing the signal through the circuit affects the frequency response slightly. As we have seen before, situations like these were common in vintage analog devices and only the best emulation plugins reproduce the hardware with this level of detail. As this change is largely just an increase in volume we can reduce GAIN by -1.3dB to compensate. Now we can see that when activating the plug only the ends are reduced very slightly. If we move LOW FREQ from 100 to 60Hz the small reduction of highs will be virtually corrected but if we continue moving it towards 30 and 20Hz we will see how in fact the high frequencies are going to be increased. Of course none of this makes much difference in an instrument track although it can act significantly on the master bus. In any case you can simply insert the Pultec and put LF at 20Hz to increase the brightness and add the character of the EQ similarly as we do with the bass of the Helios channel (Watch One more thing about the Helios Kramer HLS Channel:

    The following particularity of this device has been described masterfully by Boz Digital Labs in the video Tech Talk: Pultec EQs ( and is limited to the LOW BOOST and LOW ATTEN controls only when they are used in combination. As you can see LOW BOOST is a shelf filter that increases the bass, LOW ATTEN is a similar filter that reduces the bass and LOW FREQ is a switch that affects both LOW BOOST & ATTEN, so far nothing special... But when both LOW BOOST and LOW ATTEN are used in combination, something happens that few could have foreseen. The logical thing is that BOOST would increase the lows and ATTEN counteract that increase but since their curves are not identical the result is a bass shelf boost combined with a mid bell cut.

    Imagine having this shape and control in the 50s!

    The magic of this curve is that, similar to the combination of a HPF with a bass boost as we have seen previously (link), it balances the low frequency increase making the change less drastic and more musical. But the real magic is that LOW FREQ can control the position of the mid cut without practically affecting the low shelf boost. Some modern EQs include this type of curve directly under the command of a single knob such as the Bass Shift of bx_digital, in comparison the real Pultec offers 4 positions while bx_ only has 3 (A, B and C).

    Note: not all Pultec emulations do the first part, the Waves one was emulated from a very old and famous unit that has been well maintained preserving the original circuit, modern clones and other plugins might not behave the same.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


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  • Waves NLS | The 96 channels analyzed in Q-Clone

    2:33

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    NLS Non-Linear Summer product page:

    Also watch Waves NLS: listen to the differences between the 96 channels:

    When activating the #plugin we see a slight change in Q-Clone but if we change the channels we do not see so much difference so for this #experiment we will increase the gain to the maximum and compensate the output to simulate the operation of the plugin in a real #mix situation.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


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  • Waves Butch Vig Vocals ANALYZED and EXPLAINED

    3:50

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    Butch Vig Vocals direct link:

    Note: this video doesn't have sound, the background music you hear is just that, background music.

    The first thing that we notice when we activate the plugin is that it affects the curve slightly. The #EQ section of this plugin has been modeled from several classical hardware EQs, we have observed and explained this behavior in our video about the #secrets of the #Pultec (

    LOCUT is activated as soon as a value is assigned to it and has a range that goes from 17Hz to 1kHz. The same for HICUT with a range that goes from 21 kHz to 1.2 kHz. These combined filters can create powerful radio effects.

    LOWS is a variable Q filter centered at 300Hz. As you see smaller values create a wide bell that becomes more pointed as the gain increases.

    PRESENCE presents a very wide asymmetrical shape centered on 3 kHz that acquires a more round shape as the gain increases without being as sharp as LOWS.

    AIR is a bell filter centered at 15kHz ideal to complement the effect of PRESENCE or to compensate for the effect of the DE-ESSER... When the gain is reduced to negative values the bell becomes a shelf filter.

    MID DIP is a narrow cut with a constant gain of -6.5dB to which only the frequency can be controlled. It covers a range that goes from 300Hz to 1kHz... Cuts like this with this precise shape are used to search and control resonances which are frequencies that stand out above the others breaking the balance of the track.

    DE-ESSER is a dynamic EQ that reacts to freqs above 6kHz and controls sounds of high energy and little effect on the voice. The knob increases the effect and can be removed from the circuit if it is necessary to use an advanced de-esser.

    COMPRESS is able to compress both softly and aggressively the signal with the advantage of maintaining an impressively similar amount of compression across the entire spectrum. The output volume is also automatically adjusted although it is always a good idea to use OUTPUT to improve the work of such automated systems.

    FOCUS is another compressor. It uses a combination of EQ boost and aggressive compression to subjugate the areas where the voice can get out of control more easily, 1kHz and 2kHz. What you see in Q-Clone seems a simple freq boost but in reality this is due to the automatic volume compensation of the compressor so we must assume that in some cases it is possible that there is a frequency boost.

    The filters in the SATURATION section only affect the signal distorted by the TUBE and SOLID STATE circuits. Since these are parallel processes, the filters have no effect on the direct signal as long as there is no distortion. As soon as we add distortion we see how it affects the curve in Q-Clone. Now if we use the filters we will see that instead of cutting the signal it simply eliminates the distortion and lets only the original signal pass through. If we use both filters we can enclose the distortion in a specific area leaving the rest of the signal completely clean.

    But the most fun and interesting part of the SATURATION section is the possibility of using TUBE and TRANSISTORS at the same time. By combining these very different algorithms we can create unique sounds of refined grunge.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


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  • Waves PS22 insides explained in detail

    2:56

    This video is the continuation of or previous video: Brief introduction to Waves PS22 Stereo Maker that you can watch here:

    PS22 Stereo Maker:

    PS22 has been for many years the magic tool many engineers use to create doubled vocals, spread the choirs and generate faux stereo effects on instruments and save records in the mixing room. Yet it is hard to find video tutorials that explain how this plugin works and how to make the best out of it.

    In this video we explain how Waves PS22 works in detail and we give you general ideas on how to get the most out of its different functions, including a very basic explanation of what is cross feed delay and the useful Xfeed button. It is amazing how this tool has been available for so long without being given as much importance as other popular plugins that might have been, partly, inspired by it.

    Enjoy!


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  • Soundtoys Sie-Q Explained

    16:31

    Learn Mixing and Mastering from Daniel Wyatt (founder of Mix Master Wyatt Academy and Next Level Sound). Just go to

    At Next Level Sound, you can also learn Music Production, Music Composition, Sound Design, and Music Business. Our Complete Producer Bundle has you covered! What's more, our mentors are all successful music business veterans. Take multi-platinum, Emmy- nominated Daniel Wyatt. Or, 3 times Grammy-nominated Scott Barkham, Carnegie Hall Composer Kristin Hevner, and Ableton Certified Chris Petti. Want to see more? Just go to

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  • Our way of using Waves NLS | part 1 The Buss

    2:17

    With this video we want to share our way of using Waves NLS. In this first part we will see how and where we use NLS Buss which is the component created by Waves to be used in auxiliary channels such as Master FX, Sends and Stems.

    In the second part we show how to use the second component of Waves NLS: The Channel:

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    From the website:

    Waves, together with three of today's top producer/engineers, is proud to present the NLS Non-Linear Summer: Three legendary consoles in one powerful plugin. The magical solid state console belonging to Mark ´Spike´ Stent (Björk, Muse, Maroon 5, Madonna). The classic console owned by Mike Hedges (The Cure, Siouxsie and the Banshees, Dido, Faithless, Manic Street Preachers, U2), heard on such timeless recordings as Pink Floyd’s The Dark Side of the Moon. The vintage British console customized for Yoad Nevo (Bryan Adams, Pet Shop Boys, Sugababes, Goldfrapp, Air).

    Waves modeled over 100 individual channels in all, capturing the unique color, character, and behavior of each and every input and summing bus amp. NLS delivers the richness, depth, and harmonic complexity that only analog gear could deliver, until now.

    Direct link:

    Enjoy!

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  • How to Mix with Just One Plugin – Waves Renaissance Channel

    10:01

    Learn how to use Renaissance Channel, an all-inclusive channel strip plugin, to handle all your EQ and dynamics. For more info visit

  • How To Use Waves Q Series EQs

    7:27

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    BWA: Music production Tutorials

  • Manny Marroquin: Closing Thoughts about Waves Plugins

    2:10

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  • Best Top End and Midrange EQ - Softube Curve Bender Mastering

    11:31

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  • Introducing H-EQ

    54

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  • Boosting Synth Bass Tracks with Waves LoAir

    3:45

    In this tutorial, you’ll learn how to bring out the low end in your EDM synth bass tracks using the Waves LoAir plugin.
    Waves LoAir:

  • How to Mix Vocals with Parallel Processing

    8:44

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    Ear Training for EQ ➥
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    How to route and mix vocals w/ aux tracks when you want multiple layers of parallel processing.

    Software/Plugins:
    - Avid Pro Tools
    - UAD Plugins
    - FabFilter Pro-Q Equalizer
    - Waves Vocal Rider
    - UAD Studer A800 Multichannel Tape Recorder

    ---

    Transcript Exerpts:

    Today is about aux tracks for greater control when doing parallel processing. Today is lead vocal, then I'll do more on bass, kick, snare.

    We've got lead vocal level. I'm setting this lead vocal track, processing it with some EQ, some compression, and that's going out to a lead vocal level.

    The lead vocal level is here, and that's getting treated with EQ, compression. I'm parallel compressing it, and if you look at parallel compression lead p-comp is sent out to the lead vocal level, so the dry and parallel compression are meeting at the last chain of processing. But more importantly, level between parts.

    Let's solo her vocal and mute the parallel chain. Now I'm going to un-mute the parallel chain. Then we've got the Manny Marroquin plugin. Got the Manny EQ and I'm using that after all of that compression to bring some classiness, some air. Then Waves Vocal Rider. I'll side chain the music to the vocals so that I can keep the vocal on top. I've given the lead vocal quite a bit of love when it comes to automation there. So that's impacting how that signal gets sent into the compressors, as well as the parallel compression.

    All vocals, drums, percussion, low-end, all music, and the only two getting compression are the all drums and then I'm treating the music a different way with the slate stuff.

    I wanted the drums to be heard more than the music so I dipped the music out at that one little section. On this song I didn't do what I normally do, which is drop the overall level by one dB, and then pull up at the pre-chorus by half a dB, and then pull up for the chorus back to zero. Between the pre section you've got some percussion, production, drums and strings.

  • Quick review of the JUMPER section of Waves BSS DPR-402

    2:08

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    Note: the background music is just that, background music. The on-screen plugins do not affect the sound at all.

    BSS DPR-402:

    Since we used Q-Clone to visualize the sidechain channel of the CLA-2A, it has been going around in our head to do the same with #Waves DPR-402 to see the different configurations of the JUMPERS... First we want to note that in the default setting the circuit reduces some low frequencies even when there is no compression. For the rest of the #experiment we will generate a lot of compression and match the volume to unity gain. Now we just have to press the interactive help button, switch between the different #JUMPER options and read the descriptions while checking the result in Q-Clone.

    Watch Waves MV2, Expansion, Upward & Low Level Compression Explained:

    Watch Mixing DJ scratches with Waves plugins (& what is an expander?):

    Note #2: we are not sure how the last 2 modes can be used, if we find out you can rest assured that we'll make another video!

    direct link:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


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  • Low BOOST below HPF explained

    2:07

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    Although it may seem counterproductive, combining an HPF at a higher frequency with a #bass #boost at a freq lower than the HPF is useful. For example, if we have a low cut at 120Hz it may seem unnecessary to do a 60Hz boost later. But look what happens in
    Q-Clone when we do this... Although we are boosting a frequency that has been technically cut by the HPF we can see it is still affecting the area above the HPF. This is because we are affecting the upper area with the extremes of the boost which affects the sound with a softer curve than if we were boosting directly in that area... If we change the Q or as in this case we change from bell to low shelf, we will soften the boost even more.

    Q-Clone:
    SSL E-Channel:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


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  • Using Waves Q-Clone as a Guitar Speaker Simulator

    1:54

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    Note: This is not convolution, in this case we are merely copying the exact response of the speaker and the mic and other gear involved in the process of capturing the original IR but this doesn't reproduce the ambience of the room where the gear was captured as tipical convolution would. The option to supply this would be to insert a room reverb plugin after Q-Clone and dial in a natural small room. Finally, there's no much of a practical reason for doing this but it's a fun experiment...


    Q-Clone:

    We are going to insert Lancaster Pulse in the auxiliary of Q-Capture exactly as we do when we want to analyze any other plugin. The default Pulse #IR is a high quality #guitar #cab, as soon as it is inserted Q-Clone shows the characteristic curve of this IR. Now all we have to do is save the curve as a preset in Q-Clone.

    Now we are going insert a guitar amp in a mono track followed by Pulse and Q-Clone loaded with the preset that we just created. Now we are going to bypass the built-in cab and recreate a tone that is not too far from the DI tone for the sake of our experiment. Next we will insert Pulse and then Q-Clone with the preset that we just created to be able to compare.

    We're also going to have to turn up the volume in both plugins +12dB plugins to keep things close to unity.

    Direct link:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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  • Hybrid Vocal Mixing with Waves Butch Vig Vocals Plugin + Other Effects

    11:36

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    A video on combining Waves Signature Series plugins with other plugins to create quick hybrid processing and effects.

  • Overview of Waves API 560 EQ Plugin

    3:50

    // An overview of the API 560 plugin from Waves Audio.



    Transcript:

    [mix]

    Hello. My name is Eric Tarr.

    In this video, I'll provide an overview to the Waves API 560 equalizer plug-in.

    First, I'll demonstrate the spectral processing characteristics, and then let you hear it in action. This plug-in is modeled after the API 560 hardware equalizer. It is a 10-band graphic EQ, which means there are ten separate peaking or bell shaped filters with fixed frequency, but variable amplitude.

    The frequencies of the 560 are spaced out in octave increments, which means from one band to the next, the frequency is either doubled or halved.

    Let me demonstrate the plug-in now by making use of the Waves Q-Clone to visualize the spectral curve.

    Here, you can see as I increase the amplitude of the 1kHz band, the bell shaped curve shows up in Q-clone.

    This is also true for any of the other bands as well.

    One interesting thing to know about the API 560 is that each bell shaped curve has proportional Q or bandwidth. This means that the bandwidth is wide when there's a small change in amplitude, and the bandwidth is narrow when there's a large change in amplitude.

    Here, you can see that when I change the amplitude by a small amount, the 3dB down point is wider than when I change the amplitude by a large amount.

    Here, the 3dB down point is much narrower. This allows for a wide range of flexibility with the plug-in, as the 560 is capable of various smooth shaping, as well as very dramatic equalization.

    The interaction between adjacent bands also opens up a wide range of creative possibilities.

    Let me demonstrate how the plug-in sounds using a lead vocal.

    [mix]

    Here, I'll make use of some of the included presets with the plug-in.

    [mix]

    Notice that the plug-in adds a fullness to the low end and a clarity to the upper mids without ever sounding harsh.

    The last controls to show you on the plug-in are the output gain control, the polarity invert switch, and the ability to turn on and off the analog modeling.

    I'll play it out now and let you hear the plugin work its magic.

  • Mix Tutorial: Waves SSL G-Channel Strip Plugin

    8:53

    Learn compression:
    Learn to mix hip-hop:
    Improve your ears:
    Mixing tips:

    An overview of the Waves G-Channel Strip Plugin.

    ---

    Transcript:

    Using Waves SSL G-Channel Strip & G Master Buss Compressor to mix a multitrack drum recording.

    These plugins as part of the Waves SSL 4000 Bundle. They're PCM Mac platform compatible. They support TDM, RTAS, Audiosuite, VST, and AU plugin formats. There is mono and stereo versions of the plugin. You can use these on sessions up to 96 kHz and up to a 24-bit depth.

    I have 7 tracks of recorded audio from microphones: I have a kick in mic, kick out, snare top, snare bottom, stereo pair of overheads, stereo pair of rooms. And then I have an audio track here — a stereo track of printed reverb from an outboard reverb unit.

    I'm gonna be doing parallel compression on my drum mix. So I have a clean aux here that the outputs of these audio tracks are going into. Almost no compression, but then on my other aux channel I have a lot of compression. They'll be parallel. These are both going into my drum buss auxiliary bus. I'm gonna be using the SSL compressor just to add a slight bit of limiting to make sure that I'm not clipping the combined signal.

    Without any processing the drums sound pretty good, but they're gonna be a bit of work if they're gonna sit in a mix.

    With the SSL G-Channel, there's an EQ section and a dynamics section. You can change the internal routing so you can put the EQ before the dynamics or the dynamics before the EQ. The way I've got it set up is I've got these filters first as the first thing that happens when the audio enters the plugin. There's a high pass filter and low pass filter. What I'm doing is just rolling off a little bit of the low end to tighten up in case there's some low rumble.

    In the dynamics section, there's an SSL style compressor, SSL style gate or expander. Basic controls you have for the compressor: ratio, threshold, release. Then you can switch between fast attack and release. For my kick I just have, you know, 3 to 4 dB of gain reduction. Medium release time, I'm gonna be setting the threshold for a couple of dB of gain reduction. I have a slow attack because I want the transients of the signal to pass without being compressed and then the tail of the signal to be compressed a lot. What's that's gonna do is emphasize the transient, make the drums a more punchy.

    For my expander, I have a range to control how much expansion is going on. You have a release to control after the signal drops below the threshold, when it's going to stop gain reduction. I'm using a fast attack because so as soon as the drum hit goes above the threshold, the signal passes through the gate/expander, and I'm setting the threshold so it really tightens up my drum hit, really emphasizes the attack or the transient of the hit to make it more punchy.

    Then for EQ, there's a low shelf and high shelf. There's two bell shaped portions of the EQ for a low-mid and high-mid. You can select the frequency — how much you're gonna boost of cut. Then the Q of the bell. So let me play you back the kick drum and you can hear what I'm doing.

    [kick]

    Sounds a little boxy. Sounds tight now because I'm using the dynamics section to really emphasize the attack, boosting a little bit of the low end, cutting out around 3K where is sounds boxy. Boosting around 2K to give it that snap. Boosting about 5K for click and high end air.

    Similar with the kick out mic and snare. Taking out some of that ring in the close mics, but then the overheads I'm still gonna keep a lot of that ring. Boosting around 200 to 300 Hz because that's where the fundamental frequency of the snare drum is. Much less compression on overheads, a lower ratio going on, rolling off a lot of the low end, and I found some frequencies that I didn't like with a sharp Q around 800 and 1000-1500. Adding a bit of top end to sharpen up the sound. I squashed the room mics so I've got a fast release and a high ratio to get a lot of gain reduction. I'm not using the expander, roll off again the low end like the overheads. Found some frequencies I didn't really like.. And added some top end. With the reverb I don't have any processing. I basically have EQ set flat and no dynamics.

    Next let's get to the buss compressor. The buss compressor has some similar sort of controls for the compression: threshold, make up gain, attack and release. You can select your ratio here.

    For the clean portion, I have the compressor set up with no gain reduction: slow attack, fast release. For compression I've got a high amount of gain reduction. I'm using some make up gain, pretty fast attack, pretty fast release. 4:1 ratio.

  • Waves CLA MixHub Plugin - Mixing Plugin

    36:47

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    The Waves CLA MixHub plugin captures the smooth console workflow and the rich analog sound of legendary mixer Chris Lord-Alge. Mix up to 64 tracks – all from the same plugin window – using channel strips modeled from CLA’s personal console. Mix musically, within the context of a song, as swiftly and effortlessly as your ideas come.

    Plugins normally work on only one channel at a time. CLA MixHub is the first plugin to work in buckets – groupings of up to 8 channels, in up to 8 buckets in total. In other words, you can mix up to 64 channels from one CLA MixHub plugin window. By mixing tracks side by side in the MixHub’s buckets, you’ll gain a mixing perspective that lets you immediately hear how one track’s processing affects others within a song.

    The channel strips are meticulously modeled from the ground up with the latest technology, directly from Grammy-winning mix legend Chris Lord-Alge’s personal console – the console that Chris has used to mix a huge number of hits, from Green Day, Muse and Sugarland to Keith Urban and many more.

    Once CLA MixHub is inserted on the channels in your mix, you can assign your tracks to buckets and begin making adjustments on the fly: mixing dynamics, EQ, saturation and more at a free-flowing pace without needing to switch plugin windows in your DAW.

    While mixing, you can flip between two plugin view modes: Bucket View, with control of up to 8 channels at a time, or Channel View, focusing on a single channel’s processing chain.

    Each channel consists of 5 sections: input, dynamics, EQ, output, and an insert point. Each processing module can be expanded to reveal additional functionality.

    The input section handles high- and low-pass filtering and switchable harmonic distortion. The “line” control models the line amp in Chris’s console, adding light saturation. For a more extreme drive, kick in the mic pre. This, in effect, is like running a line-level signal through the console’s microphone preamp.

    The dynamics section includes two flavors of compression: the console’s built-in compressor, as well as Chris’s favored “Bluey” compressor. Also included: a gate, expander, and ducker with a “hold” control and flexible sidechain options for shaping a sound’s envelope – as Chris calls it, it’s a ‘super-gate.’

    The EQ section includes 4 bands of parametric EQ, from wide bells to narrow boost and cuts, loaded with the console’s original ballistics and Q characteristics.

    The output section includes a VU meter and plasma-style PPM meter, plus a stereo imaging control and an output fader.
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  • Mixing Drums with Waves E-Channel Plugin

    8:47

    Learn compression:
    Learn to mix hip-hop:
    Improve your ears:
    Mixing tips:

    How to use the Waves E-Channel plugin on a multitrack drum recording.

    ---

    This is a demo of how to use the Waves SSL E-Channel strip to mix a multitrack drum recording session. This plugin supports TDM, RTAS, Audio suite, VST and AU plugin formats. It's both PCM and Mac platform compatible and can be used on sessions up to 96 kHz in sampling rate and up to 24-bit depth.

    I'm using the plugin in Pro Tools Native, which is RTAS plugin format. Here you'll see 7 audio tracks of my multitrack drum recording. Kick in, kick out, snare top, snare bottom, stereo overheads, and stereo room. Then a printed stereo audio track of an outboard reverb unit.

    I have these tracks going into an aux bus called clean. I'm gonna be doing parallel compression so I'm running a clean auxiliary bus. Next to my compression aux bus, I have these tracks routed going into compression. And all the tracks,outputs go to clean. Then I have these two auxiliary busses going into my master drum buss. And I'm using this kind of as a master control over these two levels, and I'm gonna blend these two together.

    [dry unprocessed drums]

    Starting with kick drum. In the plugin there are two main components: the EQ and dynamics sections. For EQ, there's a high pass and a low pass filter here that you can control. Then there are 4 bands of EQ, the high shelf and the low shelf can also be switched into a bell. And then the two middle bands: the low mids and the high mids are your typical parametric EQ. You have a Q setting and you have a how much you want to boost or cut in dB, and you have a frequency control.

    Then there's the dynamics section with SSL-style compressor and expander/gate. The compressor has typical controls: ratio, threshold and release. The attack is either fast attack or slow. I have it set here for kick and snare to be slow attack. What that's gonna do is let the transient of the hit through. But then compress the tail, and it's gonna emphasize the transient to make the drums a little bit more punchy. The high pass and low pass filters that are going on over here I have clicked on this split control. What that's going to do is put the filters — based on the internal routing of the plugin — before the dynamics section. So if you click this off, then the filter section takes place after the dynamics section. So what I'm doing just as a matter of preference is rolling off the low end so that's not gonna influence the compressor.

    Next in the expander or the gate control, I have a fast attack to let the transient through quickly, then I'm gonna cut off some of the tail to make the drums more punchy. Again, by emphasizing the transient. I'm trying to do the same kind of thing with the dynamics section, both the compressor and the expander. For EQ I'm boosting a bit in the low end. Cutting around 300 Hz to take out some of the boxiness. Boosting around 2k, that's gonna add some snap to the kick drum, and then a little bit with this high shelf around 5k up until I'm taking out the high frequencies at 10k. So that high shelf adds a bit more of that top end click of the kick drum. So let me go ahead and bypass it and put it back in so you can hear what I'm doing.

    [kick drum mixing]

    Similar with the kick drum out mic. Taking out some of the boxiness and also emphasizing the attack. It's just gonna make the kick drum sit better in the mix.

    [snare drum mixing]

    I have a similar sort of compressor setup: slow attack to compress just the tail of the hit and then using the expander to cut off some of the end of the sustain of the drum hit. Boosting around between 200-300Hz, around the fundamental frequency of the snare drum. Rolling off some of the ringiness around 800. Boosting again the snap around 2k and then the click around 5k.

    Overheads. Using different kind of compression here. Just sort of to smooth things out a little bit. Rather than letting the transient through, just using a low ratio so I'm not doing a whole lot of compression. Not using the expander for the overheads because I don't want to really take out any of the sustain. Similar sort of EQ going on: boosting a little bit of low end. Boosting some high end. A sharp Q filter for my middle frequencies to take out 2 frequencies that I thought had a little too much ringing around 500 and then around 1300 Hz.

    For the room, I'm using a lot of compression here in the dynamics section with an 8 to 1 ratio, medium release. Had these going together into this bus. And I just have the dynamics section here acting as a limiter on the highest ratio and I have the threshold so it just barely hits the compressor. Then for my buss compressor I've got lots of compression with a high ratio, fast attack, fast release, smashing the transients down and blending it with the clean.

    [drums with parallel compression]

  • How to Mix w/ Waves SSL G-Channel and E-Channel Plugins

    11:08

    Learn compression:
    Learn to mix hip-hop:
    Improve your ears:
    Mixing tips:

    An overview of routing and mixing tips for the waves SSL E-Channel and G-Channel strip plugins.

    ---

    The G-Channel EQ module delivers the original hardware's characteristic pre-boost dip, pre-cut rise, and broad Q for extreme frequency manipulation.

    The Dynamics section features soft-knee compression and limiting, a gate/expander, and automatic makeup gain for rock steady output levels. Together, they deliver the one-of-a-kind sound and convenient routing flexibility that have made the SSL G-Series console a control room classic.

    ---

    The SSL E-Channel delivers the incomparable sound of the Solid State Logic 4000-series console's all-discrete design and its Class A, VCA chip. It's a slice of the world's greatest hitmaking machine, in your computer.

    The equalization section of the SSL E-Channel is based on the renowned Black Knob equalizer, developed in 1983 with legendary producer George Martin. It features a High Pass Filter, Low Pass Filter, and a four-band parametric equalizer.

    The dynamics section features a soft-knee compressor/limiter and an expander/gate modeled on the SSL LS611E. Like the original, it can be placed before or after the equalization section, and makeup gain is automatically applied to maintain a steady output level.

    Software:
    - Avid Pro Tools
    - Waves SSL G-Channel Strip Plugin
    - Waves SSL E-Channel Strip Plugin

    Transcript excerpt:

    The Waves SSL E-Channel Strip and G-Channel Strip are some of the most popular plugins for mixing, and for good reason. They sound great, they can also be used as an all-in-one effects processing unit. One thing that might be overlooked when first using the plugins is the internal routing options. These options change the order of the various sections of the plugins.

    There are 3 sections: one section is the filters section, which consists of a high pass and low pass filter. Another section is the 4-band equalizer, and the last section is the dynamics section which consists of the compressor and expander/gate. Internal routing options can be used to change the order of these sections such as putting your equalizer before you dynamics section. Or put you dynamics section before you equalizer.

    You can also use the internal routing options to do more advanced techniques such as de-easing.

    I have a multitrack drum recording with consists of several different microphones on the drum kit. I have kick drum over here, snare drum, toms, overhead and a couple room mics.

    [drums]

    On some of the tracks I've inserted the E-Channel Strip and on other ones I've inserted the G-Channel strip.

    I'll start with my kick drum track and E-Channel Strip. I've got it in it's default settings, and the default routing is to first start out with the dynamics section then go into my filter section, and finally the EQ section. What I'm doing here is just a little bit of compression and then the expander/gate, then I'm going into the filter section which has a high pass starting around 40 Hz, and then a low pass around 10k. And I have a 4-band equalizer, boosting a little bit around 2k and up around 5k to give it some snap and punch. I'm rolling off around 200 and 300 Hz to take away the boxiness and then boosting finally around 60 Hz just so I can kind of fill out the bottom end of my kick drum

    [kick drum]

    On the external mic I'm still using the E-Channel, but i've clicked on the split button right here. What this is going to do is move the filter section in front of the dynamics. This can be done if you don't want your really low end signal triggering the compressor. This is a popular way to use the plugin, especially for things like kick drum or bass where in the first situation the compressor was sensitive to the really low frequencies, but by putting the filter in front, now the compressor and gate are no longer listening to those really low frequencies that you're going to roll off anyways.

    [toms]

    And just to demonstrate that the compressor is not listening to it, if I roll it off, it's no longer listening. I'm doing a similar thing on the sub kick. Where I had the split engaged. And that's just putting the filters before the dynamics section.

    Next let's get to the G-Channel I've got inserted on the snare drum. Again I've got the split button engaged. Even though it's the G-Channel strip, it's gonna do a similar sort of thing. I've got the filters going before the dynamics and thing going into the equalizer.

    [drums]

    On my snare bottom mic I've decided to use this channel out button. What this channel out button is going to do is put the equalizer in front of the dynamics section. I've also got the split engaged which also puts the filters in front of the dynamics section.

  • When Mixing Matters More Than Recording + Amazing Pultec EQ Tutorial from the Pro Song Mixer

    20:59

    When Mixing Matters More Than Recording. Amazing Pultec EQ Tutorial from the Pro Song Mixer. Prfessional Sound Mixing Examples From the Top Mixer/Audio Engineer Andrew Zeleno. Song Mixing Tutorial. Song Mixer. How to Mix Songs. UAD Plugins Tutorial. Audio Production Course. Mixing Course. Skype Course. Top Level Mixes. How to Get Top Quality Songs. Buying Audio Equipment. How to Use Audio Plugins. Recording Equipment. Fender Jazz Bass. DI Recording. Both Pickups. Cubase 9. FabFilter Pro-Q 2. Audio Processing. Muddy Sound. Universal Audio Plugins. UAD Plugins. UAD Neve 88RS Channel Strip. Tight Sounding Bass Guitar. How to Get Rid of Muddiness. Low Mid Frequencies. Upper Mid Range. How to Inscrease Articulation. How to Get Articulated Sounding Bass. Mid Frequencies. Vocals. 1.5K. Medium Q. 3K. 5K. 6K. Snare. 0 dbVU. Line Input. Output Transformer Coloration. Mixing Tricks. Mixing Techniques. More Compressed. Fatter Sounding. Analog Bus Emulation Plugins. 1176 Compressor. How to Setup a Compressor 1176. Release Setting. How to Increase Sustain of the Bass Guitar. Waves CLA 1176 Plugin. Residual Compression. Where to Learn Audio Engineering. Where to Learn Mixing. The Best Mixing School. The Best Online Mixing School. Online Mixing Course of Andrew Zeleno. Shootout. Comparison. Dynamics. How to Get Bass Guitar Tone. Top 20 Audio Engineers. Pultec EQ. How to Boost Low Frequencies. How to Mix a Bass Guitar. How to Mix Drums. Sub Woofers. How to Get Huge Drum Sound. 10K Shelf Filter. Resonant Shelf Explanation. EQ Curves. Neve 88RS Tutorial. Cutting Through the Mix. How to Make a Bass Cutting Through the Mix. Sounding in the Mix. Trained Ears. High Boost. Q-Factor of EQ. EQing Techniques. DI BaBB. Making Big Low End Sounding Songs. Deep Sound of a Bass. Bass Guitar Amplifier. Vintage EQs. 100Hz. 80Hz. 60Hz. Humming Bass. How to Fix Humming Low Frequencies. How to Deal with Boomy Sounding Instruments. Upper Bass. Room Resonances. Pultec Fat Sound. How to Setup Pultec EQ. Pultec EQ Tutorial. Pultec EQ Settings. Changing Pickups. New Strings. Bright Sounding Strings. Plectrum. What the right Microphone to Record a Bass Guitar Amplifier. How to Choose a Mic. What to Best Preamp for the Microphone. What Converter to Buy. Pultec Attenuation. Pultec EQ Explanation. Mixed Drums. How to Get Professional Sounding Songs. What's the difference between different plugins. What is the difference between Waves Plugins, Slate Plugins, UAD.

    Unique Game Changing Mixing Course here:


    Awesome videos:
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  • Waves Manny Marroquin Plugins: Tutorial 1 of 6 – EQ

    8:31

    Watch this tutorial on the Waves Manny Marroquin EQ plugin by Grammy®-winning recording, mixing and mastering engineer Dave Darlington (Avicii, Sting, Oz). Third of six tutorials on the Manny Marroquin Signature Series plugins.

    Visit: for more info.

  • Análisis | Q-clon Waves Plugin para SSL 4000G EQ

    9:58

    En este video vas a conocer el Plugin Q-clon de Waves para visualizar qué pasa con la señal que emite cualquier aparato. En este caso, la EQ de una SSL4000G.

    Suscríbete a nuestro canal haciendo click aquí:


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    No olvides SUSCRIBIRTE y Activar la CAMPANA de Notificaciones para no perderte ningún video.

    Gracias!!

    Pablo Dominguez y Alejandro Amedey
    48tracks

  • Greg Wells Mix Centric - Plugin Review

    11:34

    In dieser Review stelle ich dir Greg Wells Mix Centric von Waves vor. Dieses Plugin ist sehr einfach zu bedienen und verleiht deinem Mix einen edlen Final Touch.


    Besucht auch meinen Blog mit nützlichen Tipps zum Thema Songwriting und Mixing :


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  • Joe West in the Studio with Waves NLS

    10:26

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  • Saturation Channel Strip EQ Goliath

    15:11

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  • Passing random plugins through Q-Clone simply because we can

    4:07

    Save an additional 10% off any purchase at Waves Audio using this link:

    Note: the background music is just that, background music. The on-screen plugins do not affect the sound at all.

    In this video we will observe how the frequency response is affected when passing the signal by devices that have not been designed specifically for this. Our purpose is to satisfy the curiosity more than to look for scientific results but as in every #experiment there is always the possibility of finding something practical... or not...

    SPIKE simulates a #SSL desk, today we are only going to analyze one of the 32 channels but as we saw previously (Watch Waves NLS: listen to the differences between the 96 channels: each channel can be different. MIKE simulates the EMI desk where The Dark Side of the Moon was mixed. This is the most colored emulation of the 3. NEVO simulates a #NEVE desk that apparently is almost as flat as the SSL but let's see what happens when we increase the signal. As in any analog circuit, when we bring the signal close to the analog 0, the simulations begin to show their true colors.

    Honestly we are not sure that we are looking here but apparently analog comps affect the frequencies differently, possibly this is part of what we call character. The resulting curve varies with the amount of compression.

    plugins used:
    Q-Clone:
    NLS Non-Linear Summer:
    CLA-2A Compressor / Limiter:
    CLA-76 Compressor / Limiter:
    CLA-3A Compressor / Limiter:
    CLA MixHub:
    Abbey Road TG Mastering Chain:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


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  • A Must-Have Plugin for Recording LIVE DRUMS!

    13:13

    ➡️➡️Click here to enter the giveaway:
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    This plugin is going to be particularly useful for those of us that record live drums, especially on toms! Quite often, as you know, drummers will have their cymbals really low to their toms, and they may go around and play a cymbal, and then a tom, so the cymbal will bleed into it. This bleed along with any bleed from the other instruments, like the snare, hi-hats, and everything else can create a lot of issues in your recording. This plugin is able to solve most – if not all! – of those bleed issues!

    What makes the Multiband Gate stand out from traditional gates is that is allows you to set the timing of each frequency band of a drum separately. For example, letting the lows of a tom ring out gloriously, while shutting off the high end quickly giving you the attack you want without letting the cymbals ruin your mix.

    The traditional way of doing this by chaining many gates and side chains is avoided by putting all of this into one plugin. Each band can be mixed and processed separately so every band has its own particular enhancements without messing up the others.

    This is a truly great plugin and I am so excited to get to try it out! Don’t forget to scroll up and enter for your chance to win one!


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  • Waves Tony Maserati Collection ACG Acoustic Guitar Designer Adds That Maserati Mystery To Your Mix

    6:19

    We are back in the dark bottomless wonderland that is the Gearwire studio, this time to delve further into the near bottomless plugin from Waves, the Tony Maserati Collection. This time we rev up the ACG Acoustic Guitar Designer, and the results may be stunning. See what you think.

  • Waves F6 Dynamic EQ Plugin Overview

    6:21

    Watch mix engineer Brad Divens (Kanye West, Enrique Iglesias) demonstrate sidechaining, mid-side processing & more with the F6 Floating-Band Dynamic EQ plugin. Learn more:

  • Our way of using Waves NLS | part 2 The Channel

    1:46

    With this second video we want to continue sharing our way of using Waves NLS. In this part we will see how and where we use NLS Channel which is the component created by Waves to be used in instrument channels such as Guitars, Bass and Drums.

    In the first part we teach how to use the other half of Waves NLS: The Buss


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    From the website:

    Waves, together with three of today's top producer/engineers, is proud to present the NLS Non-Linear Summer: Three legendary consoles in one powerful plugin. The magical solid state console belonging to Mark ´Spike´ Stent (Björk, Muse, Maroon 5, Madonna). The classic console owned by Mike Hedges (The Cure, Siouxsie and the Banshees, Dido, Faithless, Manic Street Preachers, U2), heard on such timeless recordings as Pink Floyd’s The Dark Side of the Moon. The vintage British console customized for Yoad Nevo (Bryan Adams, Pet Shop Boys, Sugababes, Goldfrapp, Air).

    Waves modeled over 100 individual channels in all, capturing the unique color, character, and behavior of each and every input and summing bus amp. NLS delivers the richness, depth, and harmonic complexity that only analog gear could deliver, until now.

    Link:

    Enjoy!

    Bandcamp:

  • Understanding Compressors, EQs & Limiters - Using Waves Qclone

    19:44

    Understanding Compressors, EQ's & Limiters

    Studio gear:

    1. iMac (Retina 5K, 27-inch, Late 2015) 3.3 GHz Intel Core i5 24 GB 1867 MHz DDR3 AMD Radeon R9 M395 2048 MB

    2. DAW: Studio One 3, Logic Pro X, Machine 2

    3. JBL LSR 305 Studio Monitors & Yamaha HS8S Sub

    4. Audio Interface: UAD Apollo

    5. DAW: Studio one 3, Maschine 2, Logic x 10.3

    6. Software: Native Instruments Komplete 9, Tone 2 electra 2

    Screen Video Capture:
    Screen flow 6.2

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  • Mix Essentials - Mixing with Waves Renaissance Bass - Bass Enhancement Plugin

    11:56

    Mixing tutorials :

    Learn how to use the Renaissance Bass by Waves to improve the perceived levels of the low end of your mixes. Great for when you're out of a sub key and the bass is losing energy on a note or two.

  • EQing Separate Tracks + Mix Buss with the Q10 Equalizer

    4:07

    Watch how audio engineer Eric Tarr uses the Waves Q10 paragraphic equalizer – the first audio plugin ever released – to surgically EQ his individual tracks and mix buss.
    Learn more:

  • Mixing with Waves Linear Phase Multiband Compressor

    3:08

    Producer/mixer Greg Wells (Adele, Katy Perry, Kelly Clarkson, Weezer) shares how he used the Linear Phase Multiband across the entire mix of Mika's #1 hit Grace Kelly.
    Linear Phase Multiband Compressor:

  • Waves eMo D5 Dynamics Plugin – In-Depth Tutorial

    35:34

    Watch this in-depth tutorial and demonstration of Waves eMo D5, a powerful 5-in-1 multi-dynamics plugin with Waves’ Parallel Detection technology which allows each of the five processors to respond simultaneously to the original signal.
    eMo D5 Dynamics -

    Chapters:

    Drums and Bass – 1:27
    Drum Squash – 11:27
    Guitar – 14:02
    Keyboards – 15:46
    Guitar (Leveler) – 18:03
    Vocals – 19:41
    Parallel Detection Explained (Groups Demo) – 26:37
    Full Mix A/B – 31:31

    All music used in this tutorial is by Sammy Rae.

  • Waves Abbey Road Saturator analyzed in Q-Clone

    2:03

    Abbey Road Saturator:

    When we activate the plugin we see that it's already doing its thing, many times this will be more than enough to enhance the track.

    If we turn off the saturation we see the influence of the compander.

    Now we can analyze PRE and POST EQ.

    These are two identical 3-band EQs at the beginning and end of the saturation circuit.

    To remove the compander from the circuit we just have to turn off BLEND.

    The bass and treble bands are shelf filters while the mid band is a bell that includes Q control and variable frequency.

    This is the most practical type of EQ to shape the sound quickly.

    If we enter exactly opposite values in the second EQ we will see that the curves are perfectly canceled, this allows us to shape the color of the saturation using pre and post emphasis.

    If we now activate the saturator and repeatedly turn both EQs on and off, we will see how the frequency response of the saturated signal changes significantly.

    Let's turn off the #saturator and the EQs again to analyze the compander.

    The compander is a noise reduction system that boosts and compresses the signal, then expands it back.

    Skipping the final step of the noise reduction system creates a unique type of HF enhancer.

    RATIO moves the area where more harmonics will be generated:

    left - soft bass clipping
    right - soft HF clipping.

    The device created by #EMI for #AbbeyRoad also includes low and high pass filters to round off the effect (because the compander effect is parallel) and a PHASE switch.

    PHASE reverses the phase of the compander.

    Since the compander's signal sounds so different from the original, this phase inversion results in a radical change of character but not a loss of signal.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


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  • Too much saturation? Do this

    1:28

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    Waves PuigTec EQs:
    Q-Clone:

    The #Pultec #EQ on the #master bus is a good tool to add clarity not only for its smooth curves but also for its character. But in this particular case we don't want to add more character to the song...

    Our solution is to copy the settings (Ctrl+Shift+C), go to our Q-Clone track (link), insert the Pultec and paste (Ctrl+Shift+V) the settings there.

    Now when activating the second Pultec we will see the exact curve on the Q-Clone screen but without the character of the original plugin.

    Now we save this curve as a new preset in Q-Clone, replace the Pultec of the master bus with Q-Clone and load the curve.

    Now we have the exact same frequency response of the Pultec but clean, without adding any saturation. This is useful when you have already added all the desired saturation to your mix in the multitrack.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

  • Mixing with Waves Abbey Road TG Mastering Chain

    4:55

    1- Learn to use the LIMITER module in detail:
    2- Watch TAPE EQ analyzed with Q-Clone:

    ONE THING we want to make clear is that the TAPE EQ on the INPUT section IS NOT a tape machine simulator, it is a filter designed to counter the frequency changes introduced to the original signal when it is transferred through some tape machines to the Mastering Chain, so TAPE EQ can be viewed as the OPPOSITE (in terms of equalization) of that introduced by the tape machines commonly used at Abbey Road. We did a video just to explain this control with a visual analysis here: The effect is as interested as the tape itself and can be used to control harsh instruments or mixes even though, technically, if you are not using a tape machine before this plugin you don't need it.

    Save an additional 10% off any purchase at Waves Audio using this link:

    Even though the name says MASTERING don't get confused, sound is sound and these modules can be used for anything from MIXING to TRACKING as long as it sounds good. The Limiter can be turned into a very basic compressor by lowering the RATIO below 10 and the EQ is perfect for instrument GROUPS like we did in this video. There so much this plugin can do that you better go read the USER MANUAL but still we wanted to give you a heads up on the main steps we consider the basics to start right away, explain some of the little details anyone can miss at first and let you hear how it sounds on one of our songs!

    Direct link:

    From the website:

    A modular #mastering chain #plugin modeled after the EMI TG12410 Transfer #Console used in all Abbey Road's mastering suites since the early '70s to this day. Use the Abbey Road TG Mastering Chain to create custom processing chains with a flexible flow and the TG magic on the master bus, or on individual tracks/groups in a mixing session.

    The distinct solid-state transistor-based sound of the TG12410 has proven itself time and again over many decades. Whether it's used for mastering as a complete console, or for mixing with only select modules, the TG brings nothing less than magic — the same magic heard on albums like Pink Floyd's The Dark Side of the Moon, Nirvana's In Utero, Radiohead's OK Computer and Ed Sheeran's +. Thanks to this Waves/Abbey Road collaboration, the TG12410 is available outside of Abbey Road Studios and you can now bring the very same magic to your own productions.

    Just like the original console, the TG Mastering Chain plugin is made out of modules (or cassettes):

    TG12411 Input Module
    TG12412 Tone Module (EQ)
    TG12413 Compressor/Limiter Module
    TG12414 Filter Module
    TG12416 V.A.L (Spread) Module (stereo component only) incorporated into the Output Module.
    Modules can be interchanged (except for input/output modules) and switched on/off to allow for a flexible processing flow and creating custom chains. Individual modules can be used on different tracks and group buses in a mixing session, as well as on the master bus in mastering sessions.

    The compressor/limiter module offers two flavors — Original and Modern — and is coupled with 48 dB/Oct linear-phase sidechain filters to help you take complete control over your sound.

    Original — aggressive and dirty just like the '70s and exactly how we modeled it.Modern — an original Waves and Abbey Road design based on the TG topology, that will help you get pristine sound with higher levels of perceived loudness.

    Alongside the TG Mastering Chain is the Meter Bridge component (separate plugin), offering a new approach to metering. Open one Meter Bridge component on any channel and get access (via drop-down) to all Abbey Road TG Mastering Chain instances in the session. Get a clear reading of VU, PPM, Phase and Peak at a glance, and stay focused on the music.

    With different processing modes (Stereo/Duo/MS) and monitoring modes (Stereo/Mono/L/R/M/S), the Abbey Road TG Mastering Chain plugin is truly a powerful tool. Use it in the studio or for live sound with a dedicated Live component.

    Enjoy!


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    Manny Marroquin Signature Series:

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    Hola que taaaaal Damiselos y Damiselas, en el video de hoy os traigo otra versus más de #plugins. Esta vez los aclamados #Waves contra los insurgentes #FabFilter... ¿Quién ganará? ¡¡No te olvides de compartir!!


    Para cualquier duda deja tu comentario o contacta en:
    E-mail: info@atstudios.es
    Comunidad en Facebook:
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    Learn how to visualize and analyze the frequency curves of various plugins by using the Q-Clone from Waves.

    Software/Plugins:
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    - Waves Q-Clone
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    Q-Clone:

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