Freebie Fri.: Drumdrops 60s Rogers Pop Kit

Drumdrops is a company that provides multiple styles of drum tracks and sample kits.
In exchange for signing up on their website they offer a free 60's style drum pack and 20%
off coupon for future purchases.

The kit is provided in a Multi-track session format, a Stems and Mix files Pack, a Loops Pack and a Single Hits Pack. The drums were recorded at The Bridge and mixed at The Square both located in the UK. The high quality sounds can be used as is or feel free to process to your liking with your favorite gear or plugins. Even though it says "60s" I can definitely see this kit being used on various styles of music.

From the website:

"Recorded on a lovely old Rogers kit from the era and mic'd up old style in a dry sounding booth, these samples will help add an authentic 60s vibe to your songs, soundtracks and commercials.

The kit we used is a Rogers PowerTone from the late 1960s and consists of a 22” kick drum, 13” rack tom and 16” floor tom. Perfect for the sound we were after. We used two snare drums, a 1960s Ludwig 400 (again!) as it is such a classic and  a Ludwig 1950s classic Buddy Rich model. 

The kit was tuned up and prepared by London session drummer Tim Weller with Drumdrops engineer Ben Thackeray. Session drummer Jonathan Atkinson was the drummer on sampling duties. The Rogers was recorded during the same session as the Swinging 60s Pop Drops Volume 1 drum tracks album, so you can hear exactly how the non sampled kit sounds there. We used one of the smaller studios at our disposal, Miloco's The Bridge (where the kit resides) which has a very small live space which was perfect for the sound of this kit. The kit was recorded with minimal microphones (a Kick, snare and 3 kit mics) which helps with the sound.

The Single Hits pack  comes with 10 patches for different samplers and includes three velocities of each articulation. The patches included are for Battery 3, Kontakt 5, EXS24, Maschine, Geist, Studio One's Impact Soundset, Ableton Drum Rack, iDrum, Renoise and Reason Refills but if you run any legacy drum machines such as Akai MPC60s this pack may be ideal as it includes 16 bit WAVs as well as 24 bit WAVs. This pack comes loaded with 138 samples."

Head over to Drumdrops.com,  sign up, get your free drum pack and check out the many sample packs they have to offer.

Mac OSX 10.11 El Capitan Compatibility Update Compilation

Russ Hughes of Studio-One-Expert posted an extensive list of links to many of the manufacturers concerning Apple's latest OS X update "El Capitan". Universal audio is not mentioned so I went to their site. The initial tests suggest that the firewire Apollos and Satellites are not compatible but the Thunderbolt units seem to be compatible.  UA does not recommend updating to "El Capitan" at this time.

You can check the entire list here.

Tech Tues.: How to Add a Custom Tonal Reverb to Your Mix

I saw this on the Recording and Mix Engineers community on Google+ and thought I should share it. It's another great post by Eric from The Pro Audio Files. This time he shows how to create a custom reverb sound with your own impulse response. I can see this technique being used not just for mixes but to create custom sounds/atmospheres in Post Production for games, movies etc.





What do you think? Would you use this technique in your own mixes
and/or productions?

Tech Tues.: Stereo imaging and Ambience Enhancement with the UAD Precision K-Stereo.

   I wanted to do another post on stereo imaging since I've been using the UAD Precision K-Stereo Ambience Recovery plugin on some of my projects lately. The K-Stereo plugin is based on the hardware designed by world renown mastering engineer Bob Katz (who I had the great pleasure of meeting last year). Even though it was designed for mastering purposes I find it quite handy as a mixing tool.

  The K-Stereo works on the concept of mid-side enhancement and ambience recovery. It enhances the soundstage and stereo image without ruining the phase. The best way I can describe it is it makes the tracks more 3-D. The plugin can work on individual tracks and aux busses (works well on the background vocals buss) but really shines on the Master Buss. The K-Stereo is very simple to use and a little goes a long way. The AMBIENCE FILTERS section only affects the 'wet" signal and only when the "RECOVER" button is lit. This allows the user to tailor the frequency response of the ambience. Note the K-Stereo does not add artificial ambience but just enhances the inherent "space" already in the material.

  Take a look at this video with Mr. Katz demonstrating what the UAD K-Stereo does:

   And here's a quick video review of the K-Stereo plugin by Russ over at Protools Expert:

  A few years ago I did a post on stereo imaging tips which feature both hardware and software stereo imagers. The tips are a part of my daily mix routine.

Ground Control Deluxe MKII and the Wooly Mammoths.

I've been searching for a good passive monitor controller for my mobile studio setup and came across the Mammoth Cave Audio website. Their controllers look very solidly built, have great features and are reasonably priced. As stated on the site the Ground Control Series have a "Fully passive monitoring path with no active components to color your sound."  

$599

$599

$615.99

Features:

• 3 pairs of stereo inputs (2 rear, 1 front), 3 monitor pair outs, parallel/sub output.
• high quality stepped volume attenuator with precision 1% resistors for finest quality clean stepped gain control.
• Alps rotary selectors for source switching.
• Individual mutes for L/R and sub
• 3rd input is an “aux/client in”, which is a front/top access 1/8″ stereo input for every time a client wants us to hear something from their phone or laptop. I added this because I swear these days, clients always are saying “we are going for something like this…” and then they pull up some file on their phone.
• A braided white 1/8″ aux cable is included.
• All rear inputs and outputs are 1/4″ TRS and generally can be seamlessly used with any combo of balanced and unbalanced gear (units use balanced TRS input, unbalance internally and re-balance on the outputs for easy configuring with all types of source and monitor combos without introducing any added ground noise).
• Headphone amp (my take on a simplistic minimal signal path design that the hi-fi crowd raves about). While it’s not designed to be a ridiculously loud amp, it is designed to be clean and accurate.
• Quality VU meters for source monitoring (console version available without VU option)

There are also standard versions which are the "same as the Deluxe, but eliminates the headphone amp, meters, phase switch, and individual L/R mutes (still has mute all, separate mute for sub/aux out) and features stepped attenuator, 3 in, 3 out, sub out, and mono switching. Available in 1U rack-mount or console versions."

$279.99

$279.99

There's even a Micro Version for those who don't need the additional features of the Standard or Deluxe models:

$225.99

For the ultimate in portability without sacrificing sound quality there's the Attenuator Plus:

$92.99

If you already have a monitor Controller but need a Source/Monitor Switcher try the Three to Three:

$195.99

Mammoth Cave also has what they call the Passive/Aggressive Series nicknamed the "Wooly Mammoth" that is described as a "Passive Harmonic Generator". They are not monitor controllers but are made to be used inline while recording or mixing:

From the website:

"Designed to deliver some of the subtle nuances of colorful transformer based pre’s, consoles and other gear, as well as some soft clipping and saturation reminiscent of tubes, tape and other classic analog circuits getting hit hard. Diversity from subtle to all out mayhem. Deluxe version adds some additional features and filtering options.
Features the big beautiful legendary Carnhill transformers found in the classic Neve designs, as well as custom nickel wound transformers from Cinemag, steel from Edcor, and our NOS dual core transformers. Various Germanium diodes sought out for their harmonic richness and soft clipping characteristics. Some being NOS military grade sourced from Germany and Russia. Fairchild rectifiers and shottky diodes. Alps rotary channel selectors, and on the deluxe, a switchable high grade stereo stepped attenuator with premium 1% resistors.
It’s made to be subtle and add just the right amount of sparkle to overly digital recordings, but can also get pretty wooly on the germanium settings."

Sounds interesting and I would love to hear them in action. Will see if I can arrange a demo and do a more in-depth post in the near future.

Visit Mammoth Cave Audio for more info.

Tech Tues.: UAD 88rs ChannelStrip

The new UAD 88rs ChannelStrip is quickly becoming a favorite among UAD users. The original now called the legacy version was good but UA has taken the updated 88rs to a whole new level.

The 88rs is based on the Neve 88 Series Large Format Console which "is renowned for its startling depth, airiness, and clarity — deftly encompassing the best of all Neve designs that came before it. Not surprisingly, Neve 88 Series consoles are found in some of the world’s finest studios and scoring stages, including Skywalker Ranch and Capitol.
Now for the first time, you can track through an authentic emulation of this modern masterpiece — complete with its famous mic/line preamp, cut filters, dynamics, four-band EQ, plus post-fader output amplifier — exclusively for UAD-2 hardware and Apollo interfaces." One listen and you know there's some serious audio mojo going on. 

I'm currently doing two projects where I use the new 88rs in various ways. It excels on individual tracks as well as aux busses including the master.

The pic above is an actual setting I used for synth bass on a mix I did last weekend at MSR Studios.

Here's a quick tip video from UA showing how to achieve great sound with the new 88rs ChannelStrip Plugin:

I'm considering getting an Octo Satellite and 2 of the new Apollo 8Ps so I can have a virtual hybrid Neve/API/SSL console. 

For more info on the 88rs and other UAD plugins or products visit UA's website.

Tech Tues.: Producer Salaam Remi on using UAD-2 plugins when creating Hits with Alicia Keys, Nas etc.

UA has posted an article on their website with Producer/Record Exec Salaam Remi speaking about working with various artists and his use of the UAD-2 plugins. He gives insight into his production style and how he communicates with the artist during the creative process.

Here are two excerpts from the article where he mentions his favorite UAD-2 plugins:

"So even though I record through my hardware Neve 1073, I’ll still utilize the UAD Neve 1073 Preamp & EQ Plug-In Collection, the Teletronix™ LA-2A Classic Leveler Collection, and the Roland^® RE-201 Space Echo Tape Delay Plug-In. So whether I’m in New York, in my space in London, or in Miami or Los Angeles, I work mostly on my laptop, plug into the interface wherever I’m at, and still have access to the same sounds."

"The Neve 1073 is usually my thing. I mess with that a lot. Also, the EMT^® 140 Classic Plate Reverberator Plug-In — I use those more than anything else. Sometimes I use an API Vision Channel Strip or the Pultec EQP-1A on bass. When I’m recording, I usually track on a Neve board, or at least through Neve preamps. With drums in particular, I usually continue with the Neve aspect within the box, using UAD tools for that as well."

Read the entire article at uaudio.com.

Tech Tues.: Tips on using the ATR-102 & Studer A800 UAD-2 Plugins.

Here's a quick video tutorial by Universal Audio on using their Magnetic Tape Bundle which consists of the Ampex ATR-102 and Studer A800 plugins. I use both quite often on mixes:



The Magnetic Tape Bundle costs $398.

Universal Audio is currently having a Half-Yearly 50% off sale with over 20 plugins for under $100 each. Sale ends June 30th.

Freebie Fri.: Eventide's UltraChannel FREE till July 8th

Hey everyone I know it's been awhile since I posted but had to let you know about this great free plugin from Eventide called the UltraChannel. I love Eventide hardware and have heard good things about their software.
Fellow engineer and blogger Christopher Smith posted it on his Google+ Recording and Mix Engineers group (Thanks Chris).

From the manual:

"The Eventide UltraChannel plug-in is a powerful audio engineering plug-in for Avid AAX, Apple Audio Units, and Steinberg VST formats. It provides you with a routable Gate, Parametric EQ, and two Compressors, a Micro Pitch Shift section, and Stereo Delays. Their flexible modular design accommodates different signal processing routing, their graphical displays provide you adept precision in frequency adjustment, and their suite of controls give you a near infinite number of ways to generate exactly the tone and frequency characteristics you’re seeking. Additionally, through its support for side-chaining, you can use an alternative audio source to color the characteristics of your main signal. Whatever your audio application may be, UltraChannel will be invaluable for its remarkable versatility and industry benchmark performance."

The above pic is the setting I used for an organ track in a recent project. It's very convenient having all those features in one plugin that's light on CPU usage (see video below). I plan to do some more intensive testing with the UltraChannel but so far it lives up to Eventide's reputation.

NOTE: It's free till July 8th 2014 after that it will cost $249.



Take a look at this review of the Eventide UltraChannel by ProtoolsExpert.com:




You can get more info and sign up to receive a download link on Eventide's webpage. An access code is required and can be found on ProtoolsExpert's website or at the end of the videos on the Eventide site.

Tech Tues.: Mixing Vocals with Joe Chiccarelli

Here's a great video from UA with esteemed Engineer/Producer Joe Chiccarelli sharing how he mixes vocals with various UAD plugins.




I use two of the plugins featured in the above screenshot on almost every mix. Can you guess which ones?

Tech Tues.: Using Saturation to enhance the sounds in a mix.

Saturation is a popular way of enhancing sounds and getting them to sound more "real", "lifelike" or "3D". That's one of the reasons tape machines are still held in such high regard. Saturation makes even live instruments sound more exciting.

These days we have access to many plugins that offer various flavors of saturation. One of my favorites is UAD's plugin emulation of the Ampex ATR-102. I also like their UA-610 Tube Preamp plugins.

I try to capture as much color/texture when recording to the DAW but as a mix engineer I'm usually not involved in my client's recording process so I use various methods to get the sound that I feel is needed for the mix. One method is to run individual sounds or instrument sections out to some of your favorite gear and re-record them onto new tracks. I sometimes send sounds out to the live room PA or to guitar amps and then record them (aka re-amping). If you use this method use recall sheets or your smartphone or camera to notate the settings just in case you need to recall the settings to reprint a track. These days due to time and budget constraints I'll often use plugins to achieve the sound I'm aiming for. These methods work great with virtual instruments that sound a little "sterile".

Here's a quick video by UA showing how to use the 610 Preamp plugin with their Apollo Twin Interface while recording acoustic guitar:

and here's another UA video of a recording session done with the actual console the 610 plugins are based on:

There are many different plugins ( too many to list) that offer saturation but as with hardware it comes down to personal preference.

Here's a short tutorial from Matthew Weiss on The Pro Audio Files showing how saturation can be used to enhance sounds in your mix. Use your monitors or a good pair of headphones when watching the video so you can properly hear the audio.

Freebie Fri.: Free Set of Lexicon 480L IRs

Around 12 years ago Producer Grant Nelson took time out of his busy schedule to make a complete set of Lexicon 480L Impulse Responses (IRs for short). He originally planned to use it in Altiverb which is a great convolution reverb from AudioEase. 

Grant's 480L library should be compatible with most if not all reverb plugins that can use IRs (Waves IR1, Avid's Space formerly TL Space and Logic's Space Designer to name a few).

The 480L is considered as one of the best hardware reverbs manufactured by Lexicon and is an industry standard.

Here's a short post I did on the 480L some years ago:

"The 480L is the reverb unit that I used on Estelle's @EstelleDarlings vocals for the "All Day Long (Blue Skies)" song produced by Avriele “Avenue” Crandle on the "For Colored Girls" soundtrack. “A Plate” Bank 4 Preset 1. The 480L is a hardware reverb that once was Lexicon's flagship unit. It has now been replaced by the 960L which is also a great unit. The 480 is a dual engined unit which allows you to access two reverb engines independently of each other and is controlled by a custom remote called a LARC (Lexicon Alphanumeric Remote Control). The unit has two balanced inputs and four balanced outputs (mono in, stereo out). The 480 has 21 banks of reverb presets with 10 presets per bank. The reverb types include the standard halls, plates and rooms plus some others that's exclusive to Lexicon such as 10W-40 (Bank 3 preset 4). This unit is discontinued but can be found used for approximately $4000. The Lexicon sound is one of a kind and can be found on many hit records of the last 40 years. Lexicon has now released a PCM reverb software bundle which I will review shortly. Here's the link to the software http://www.lexiconpro.com/static.php?id=55 "

The full list of Impulse Responses included in Grant's 480L IR collection are:

Ambience – Gated Ambience
Ambience – Large Ambience
Ambience – Medium Ambience
Ambience – Small Ambience
Ambience – Strong Ambience
Ambience – Very Large Ambience
Effects – BackSlap
Effects – Doubler
Effects – Get It Wet
Effects – In The Past
Effects – Rebound
Effects – Sudden Stop
Effects – Surfin
Effects – Tremelo L to R
Effects – Vox Whispers
Halls – Auto Park
Halls – Jazz Hall
Halls – Large Church
Halls – Large Hall
Halls – Large Plate
Halls – Large+Stage
Halls – Medium Hall
Halls – Medium+Stage
Halls – Small Church
Halls – Small Hall
Halls – Small+Stage
Plates – A Plate
Plates – Fat Plate
Plates – Small Plate
Plates – Snare Plate
Plates – Thin Plate
Rich Plates – Drum Plate
Rich Plates – Echo Plate
Rich Plates – Guitar Plate
Rich Plates – Horn Plate
Rich Plates – Large Plate
Rich Plates – Short Plate
Rich Plates – Silver Plate
Rich Plates – Slap Plate
Rich Plates – Vocal Plate
Rich Plates – Vox Plate No.2
Rooms – Large Room
Rooms – Music Club
Rooms – Small & Bright
Wild Spaces – 1ow-40
Wild Spaces – 2ow-50
Wild Spaces – Big Bottom
Wild Spaces – Brick Wall
Wild Spaces – Buck Ram
Wild Spaces – Inside Out
Wild Spaces – Metallica
Wild Spaces – Ricochet
Wild Spaces – Sillica Beads
Wild Spaces – Varoom

You can download the IR library here.

via Synthopia

Tech Tues.: Test Tones, Levels and Gain Staging

I often get sessions to mix with clipped tracks that makes it difficult to get a great sounding mix due to distortion and lack of headroom. Before I even start mixing I reduce the levels of the individual tracks 12 to 15db so the master buss is not clipping.

Here is a short video by The Gear Addicts showing how to quickly set up good levels and do proper gain staging for recording your guitar. This method can be used with any DAW and a similar method can be used when working with virtual instruments. Most DAWs have a test tone plugin.

Have fun recording but remember to keep an eye on your levels. Nothing worse than having the perfect vocal/instrument take ruined by clipping and distortion.

Big Sound In A Small Package - The Roger Mayer 456

Roger Mayer's guitar pedals has a long list of fans worldwide and now he has announced The Roger Mayer 456 which allows you to add the sound of analog tape to your workflow without the hassle of purchasing tape or constantly aligning or performing tape machine maintenance. 

From the website:

"It uses the latest ultra-high speed analogue design techniques to accurately duplicate the dynamic and harmonic properties of analogue tape and vintage tape recorders in real time with zero latency or any other time smearing artefacts.

456 Tape was chosen as the model for the harmonic and dynamic properties and the A80 Studer Tape Recorder as a reference for overall frequency response with respect to tape speed, bias and tape head properties."

Here's an excerpt from a SOS article written by Paul White on the mono 456:

"I did a lot of listening tests, comparing the 456 with various plug-in tape emulators and saturation devices, and I've come to the conclusion that Roger is definitely onto something, as I couldn't quite replicate the sonic character of his box using any of my plug-ins. Which comes closer to actually sounding like tape is another discussion altogether, but when it comes to achieving what you really want tape to do (rather than what it sometimes actually does!), the 456 is extremely effective, producing musically satisfying results. For examples, real tape can't handle cymbals at high levels because of the pre-emphasis used in the recording chain, whereas Roger's circuit has no such limitation. Drums can be made to sound big and punchy with an apparently different sense of air around the sound, even at lower drive levels. Bass guitar also benefits, sounding somehow fuller and better able to sit in the mix. "

"For stereo processing, I tried a pair of 456s via my DAW's main mix insert point and used the DAW's 'jellyfish' meter to ensure the left and right balance was the same as with the insert point bypassed. I also set up the DAW so as to maintain the same level when the insert bypass was operated. As with analogue tape, there's a sense of cohesion: mix elements feel better integrated, while the low end fills out somehow, without actually getting louder. Certainly, the forthcoming stereo model will be better suited to this role, and the lack of an output level control here made it harder to balance the levels for A/B checking, but it didn't take long to get good results. Because of the format of this particular box, I'd say that it's most useful for tracking, where it can soft-limit peaks before they hit your converters, or to insert on individual channels for processing during mix down."

Read the rest of the Peter's article on the Roger Mayer 456 here. 


The 456 Mono is $299.

The 456 Stereo will be shipping shortly. Price TBA.

In the USA contact:

NORRIS AUDIO
C/O BMSChace
1560 Broadway
RM 1108
New York, N.Y.10036
USA

Contact: Robbie Norris
Tel: 631 987 5102
email: robnor@gmail.com

The Drumatom from Accusonus and Plugin Alliance.

Drumatom is a new product from the innovative Greece based company Accusonus. It is a standalone product that is designed specifically to remove leakage in live drum recordings. Usually gates/expanders and filters are the weapons of choice when dealing with drum leakage and the Drumatom will definitely be added to that list.

"Drumatom is the world's first microphone leakage suppression tool for multichannel drum recordings! It is based on the patent pending Advanced Audio Analysis - A3 technology and is the result of many years of research and development work."

Here's a short video explaining how it works:

Now take a look at this Drumatom video review by our favorite Protools Expert Russ Hughes: 

Drumatom costs $399 at Plugin Alliance.

Download the demo and give it a try. Let me know what you think.

Mac demo

Windows demo

Tech Tues.: Using Hi/Lo Pass Filters on Bass.

In this latest ITL (#100) Dave shows how to use High and Low Pass filters to enhance the bass in your mixes. This is a method that I've used on many mixes not just on bass but guitars and synths. The frequencies will vary but the basic technique is the same.

The ZÄHL - EQ1

The ZÄHL - EQ1 Stereo Equalizer from the AM1 Analog Console designed by Michael Zahl and Mark Enestus is now available in a 500 series format.

The original Custom built 56-channel inline console in Conny Plank's Studio:

I like the look/layout of this dual slot unit. The global 5/15db gain switch for the eq gain is a great feature. The individual bypass switches for each band makes for easy A/B comparisons and there's selectable I/O gain. Also note the frequency switches on the hi-mid and lo-mid bands.

ZÄHL EQ1 Features:

• stereo design for mixing & mastering as well as voices & instruments
• highly musical design
• intuitive, user-friendly, self-explaining layout
• lowest noise and distortion signal paths built with highest quality components
• audio switching on EQ gain potentiometer, zero position for bypassing unused stages
• no microprocessor, no clock pulses, sequential logic only
• individual power stabilization on each module, no switched power circuitry
• fully compatible with API 500 module series specs, occupying two slots

Here's a video of Michael Zahl with the EQ1(in German) at Musikmesse 2014 and a 2nd one of the AM1 console on which it is based:

The ZÄHL - EQ1 Stereo Equalizer is available for 1250 EUR/1727.25 USD from adebar acoustics.