There’s also been some updates to other products, since this is a relative chart. When one DAW changes, the ratings of others often change too.
I didn’t actually give a good constructive summary of how to improve the presets, or how a user could create patches suited to their tracks.
Not all of these are guitar sounds!
So that’s what I’m doing today. I have 10 presets here for Axiom that I took from “real sessions”. I’m going to explain how to use them, how I came to the settings I used, and the tricks I use when utilizing Axiom.
A lot of these tips apply directly to Blue Cat Destructor as well.Read more →
Part 2 and the conclusion of the MeldaFreeform series review. Be sure to Check out Part 1 since that has a lot of info as well.
I’m also doing a short comparison between the Harrison AVA Mastering EQ and some of the Melda Freeform products.
Enough chattering… let’s get on with it.Read more →
The Melda system is quite feature-filled, so I’m going to be splitting this review in to 2 parts: Part 1 (this) and Part 2 (coming soon!). Part 1 is going to cover features that are common between the 3 products, and other Melda plugins. Part 2 is going to cover the unique functionality of the 3 products.
Be sure to check out Part 2 as well!
Without further ado… let’s see what these plugins have in common.Read more →
My wife has a neck injury for which she uses resistance bands in her therapy regimen.
The rub is that the bands need to be held at certain positions, in various ways, so that she can pull on them. Our house is basically a labyrinth of workshops, we don’t even have a living room. We’re both artsy/crafty folk that don’t have much of an interest in a “normal” house. The result is that there’s only one place in the house where she can spread her arms out.
That place also happens to be the main walkway in the house. Which means I don’t want things on the wall where I’ll inevitably run in to them and destroy it, or me.
My solution was to build a portable resistance band holding station that can be clamped on the wall.
Luckily, this also buys me some time for my next review that’s coming up later this week. It’s taking me some extra time so consider this post my ninja-kung-fu redirection while I finish it.
On with it!Read more →
I was asked to discuss single mic setups, so that’s what I’m doing today. I’m also going to cover some issues with using omnidirectional microphones (any microphones actually…)
Please first read:
I am going to assume that you are familiar with the methods I’m using in this article. Those topics are covered in the first 2 parts.Read more →
AVA Mastering EQ is a VST/AU/AAX version of XT-ME at a far more reasonable price of $49 (on May 1st, 2018). I suggest simply taking this price in to consideration as I explore this product.
This is not a review per se. This is my curiosity being documented. I’m just going to explore the product and take you along for the ride. If you think my findings are evidence of a purchase worth $29 then go for it.
I was given this plugin for beta testing, and I talk with a number of employees at Harrison frequently now. I’m fairly certain that my personal views on this product are tainted by my relationship with their team at this point. So I’m going to avoid giving a final recommendation of any sort. Keep in mind that my exploration may be similarly influenced… or not. You decide.Read more →
Here is the transcription of the live session.Read more →
In Part One of this series I discussed placement of microphones. Microphone placement is very important with regards to tonality and time/phase coherence. When using two microphones for a stereo array, distance is also an important factor with regards to amplitude.
There’s a missing piece of the puzzle though: Microphone pickup patterns. So in this post I’m going to discuss various drum miking systems, their deficiencies and how to approach correcting them if necessary.
I want to reiterate once again, since many people seemed to miss it, I am not claiming that any specific system of drum miking is wrong. My claim is that if you are making decisions about microphone placement without being aware of the tradeoffs of each system, then you’re doing it wrong.
However I do strongly believe that there are systems that can be used with minimal tradeoffs (and likewise minimal artistic benefits).
Reading Part One is pre-requisite for reading Part Two.Read more →
Today I’ll be discussing how to place Drum Overheads, and specifically what I think many people are ‘doing wrong’. This is largely in the context of the Glyn Johns technique and the Recorderman Technique, but it also applies to various other drum overheads miking techniques.
Before you get your jimmies rustled, let me say that there’s not really a “wrong” way. Thousands of awesome sounding records have been made using a variety of wonky techniques. What’s really important is that you capture the sound of the drumkit in a way that best represents the instrument in the context of the mix.
What I’m offering you is a geometric explanation of how to establish a good starting point, and explaining some potential snafus with various techniques.
I’m also going to discuss how many people explaining this techniques do a somewhat poor job. I’ve gone through many videos and text descriptions and there seems to be common misconceptions that I wish to clear up.
I’m going to try to do my best to explain this mathematically, but also ‘intuitively’ (whatever that means). There’s going to be 3 different explanations of the same topic. I hope one of them makes sense to you.
Onwards!Read more →
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