Hello. It's another episode of Inside the recording studio. I am Jody Whitesides and with me as always is Mr. Chris Halstrom. How are you today, Chris? doing very well, Jody. I'm actually in a good mood because we shared a bunch of laughs here before we started recording. So yeah, I'm good. How you doing? Oh, absolutely. Absolutely. So before we hit the Nothing like a little comic relief before we hit the record button.
record button, or keep going here with the record button or anything, including record button, what What are we talking about today? Right. We're going after the concept of channel strips versus individual plugins today. And we see an abundance of channel strip emulations coming out on the market and how the workflow potentially changes. This is a good thing. This is something that you should try to adopt. So shine a little bit of light on the process of the differences there, I think.
Well I think it really kind of stems from a conversation we had last week as I was driving - Oh. - Yep. home from a little time off, speaking about the fact that I am forcing myself to work Is that really large? specifically with Channel Strip emulations on a rather large-ish project of 90 songs. So I guess so. Is that classified as large, 90 songs? (laughs) I mean, compared to just doing a single, it's rather, it's 90 times a single. - Yeah. - Oh, there you go. So yeah.
Yeah. It is interesting because I have often been intrigued by the workflows. And I think, like you mentioned, you're using this for Yep. Yep. a specific project. I think that's a good time to sort of approach it, because just trying it on like one song, or, you Uh huh... know, I'll do it on this one, and then on another one, especially if they're going to go together, I think that might be asking for a little bit of trouble. I'm in the same boat, I scratch that edge man, scratch it!
have not yet devoted a whole project to this process. And I'm inching to wanting to do it, but it just hasn't come up. It's been one thing coming up and I've started and blah, blah, blah, it just hasn't materialized for me. But I do like the cup. I know, I know. And I'm very intrigued by it. So All right, so what's the difference that you see between these two? at one point, I definitely will. But when we're well, there are
several. I think it's initially you're just forcing yourself to stay in one interface of a plugin, right and really dig into that one, as opposed to choosing, let's say, Oh, I this is my favorite EQ, this is my favorite compressor, and loading Sure. That's why I have an 80 inch monitor, man. several plugins in your channel strip in your DAW. And then mousing around that and opening and closing different plugins to get to the compressors, assuming you don't have a large enough
screen to host everything but that's the difference. So just the the workflow that 80 inch Yeah, it goes all the way around That goes all the way around me. 360. Yeah, it is one of those things I think that limitations Sure. we will touch on this a little bit later in more detail. But I think imposing limitations on yourself is sometimes a really good thing. So just having everything and making do with Sure. You want me to kick it off is what you're saying?
yeah, this is what I'm going to use. This is my compressor. This my EQ, this is my filters and blah blah blah. That's what I'm going to use on this. I suppose maybe we should start with what are the common components that we see in a channel strip and what we're thinking about when we're saying a channel strip plug-in as a concept as opposed to just individual ones, right? Why is that not a channel strip to us? So kick it off man, kick it off. (laughs) All right, I'm kicking. Right.
General common components that appear in a channel strip style plugin. And this relates to the concept of consoles. Right. That's where the idea of the channel strip comes from. Mm-hmm. The very first thing generally is a filter. And more often than not, it's gonna have two filters, Right. the high pass filter and the low pass filter. A second component to the area is going to be EQ, which is all that stuff in between your high pass and low pass filters.
Then generally there's going to be either a gate expander Right. Yeah. situation and or a compressor situation in the channel strip. Not always, but generally. And in addition to that, there's also your output level. But what I also forgot in the very beginning is the fact that generally there is also an input or gain level prior to all of this. Those are the major components to an actual channel strip Right.
that you would find on a console that have translated their ways into channel strip plugins. Thank you. And as we're seeing now in the market, we're seeing a lot of the emulations of classic Sure. I'm going to do a little bit of a quick break. consoles. I'm going to do a little bit of a quick break. This is not an entirely new concept, but for people that grew up and started their careers I'm going to do a little bit of a quick break. I'm going to do a little bit of a quick break.
I'm going to do a little bit of a quick break. on consoles, I'm sure this is a relief because now you don't need to have a giant SSL console I'm going to do a little bit of a quick break. I'm going to do a little bit of a quick break. I'm going to do a little bit of a quick break. at home, which you might want to, or in the studio where you work, but you can get very similar workflow I'm going to do a little bit of a quick break. I'm going to do a little bit of a quick break.
I'm going to do a little bit of a quick break. using the Challenger plugin and more importantly the sound as well, right? Because that is a different thing. I'm going to do a little bit of a quick break. I'm going to do a little bit of a quick break. That's something Adam actually touched on when we interviewed him a couple weeks back. Right, and the sound how API will sound different than an SSL that will sound different from a Sure.
Sure. focus right to a need or what have you and if you know what to listen for and Oh, that's disappointing. you know what you like that can be a benefit to you I don't think that it's necessary to immediately go out and buy every channel strip plug-in there is or Of course. emulation there is yeah I know I mean it's fun to have in your plug-in folder Of course. right? Don't get me wrong. The important part there is, you know, echo again what you and Adam
said is that you have to know the sound that it imparts. And if you can't, well, he did say it, Well I haven't said that yet. That was prior to us hitting record. But he did say it in the podcast a few weeks ago. but you hinted at it. So if you don't hear that, if you can't hear that difference as well, then I wouldn't worry about it too much.
But getting to use one piece of gear, whether that is an SSL or a Neve or whatever channel strip emulation you have, I think benefits you because it teaches you the sound of that console and what you can do with all of that. Would you agree with that? Yes and no. Okay, give me the no first. I don't know if it teaches you the sound. [ Pause ]
I don't think it teaches you the sound unless you have multiple options to choose from and then you spend an inordinate amount of time listening very intently. That's a given, you have to listen. And if you're not listening, it doesn't matter what channel strip you're using. However, that being said, the yes to all of this is that it doesn't matter what channel strip you get first, technically.
If you can't make a mix sound good with one particular channel strip, The problem isn't the channel strip. That's the answer that I would give there. - Right. - Yeah. Yeah, absolutely. It's the Mojo man. When I'm seeing the sound of a channel strip, I mean, even if you just have one and you're running it through your DAW, just without any processing, you'll start to hear what that imparts.
Is it imparting anything that you hear that is pleasing, right, or what is it doing to your signal as opposed to bypass? I think that's where the, it is the mojo Sure. because the meter says that it's doing something. But in reality, just listening for that and see what it does to the audio. Yeah. What are the popular options that we have at this point in time for channel strips? And if you can't hear that, well then again, don't worry about it.
Just start using the plug-in and get to know it and hopefully your mixes will come out just as well as before it. Mm hmm. Mm hmm. I really like the Brainwork stuff. They have their SSL range, the 9000J, the 4K, the E and the G. So there's some options. Yep, I've been using it as part of this project that I mentioned earlier. There are different EQs essentially. They have their needs. They got the focus right. They know you really like. Right. And they have the Amac boards.
It's one third of it, but yes. Yeah, I got the API, I've got the Neve 88 RS, I've got the SSL 4000, which also has There are others. You're a UA guy, so I know you've used a couple of theirs, right? So what do they have? (sighs) Yeah. the E and G connotations between the two that you can switch in the channel strip. Yeah. I have the Helios as well. Right now. I also have their 1073 and I have their 610 series, the A and the B. So I have all of, I think I have all of their channel strips.
But that being said, the Helios does not come with the gate and expander and compressor. Yeah. Neither does the 610 Right. and neither does the need channel strips. Those three right there in the UA situation So it's a little bit of a caveat there where it's, but then in all fairness, like the Helios consoles didn't have that either. don't have gates and expanders and compressors. Right, no, they're emulating the actual product. Right? Right. So that console didn't have it. They didn't add it.
Right. - Yes. Of course SSL make their own channel strip, as you'd think that they do. Waves have theirs. I think they were the first one to do the SSL channel strip, I believe. [sigh] [silence] But they have, obviously, the SSL version's Sheps has his own. That one is a little bit different in that I think that you can actually choose which type of compressor and EQ you want to use in that format. that technically not a specific console but again adopting the channel strip
Mm hmm. Yeah. Well, there's also your favorite, which is the slate virtual mix rack. sort of workflow and they have the EMI, the red, Kramer, again the Helios. There's a lot of these out there. Right, again not necessarily strictly emulating one I'd almost call that a virtual channel strip. particular thing because it is that sort of 500 rack kind of mentality but you can put together all the components to make your own channel strip in there. The reason why I wanted
to add this almost like a virtual mix rack, if you will. The reason I wanted to bring that one up is Yeah. Number nine, because I'm a heavy user of that. I use Slate products on every mix that I do these days. And one thing that I struggled with, or I thought I would struggle with, was the idea of having all the components in one plugin window, Mm-hmm.
where you would have everything from the pre's, Right, but let's talk about that a little later because we've got other popular options here that we need to mention. from compressors and EQs and all the dynamic stuff that you could do. I found myself that it was actually easier, 'cause I was coming from before then, it was obviously individual plugins, right? So I was, okay, we do.
Now, yeah, so these are now other options that are out there that are not necessarily emulating a particular console, but are still adopting this channel strip sort of workflow. Mm-hmm. Mentality. It right. We've got the metric halo. So which ones are those, Jody? Mm-hmm. We have Even Tide with their Ultra Channel Yup. and there's the Softube Summit Audio Channel Strip. Right. And I'm sure there's many others out there So there.
I mean, that's a fair bunch of them to get you going. So it's that I haven't mentioned, but those are generally the most popular ones, all the last little things that we've mentioned here. There is a definite plethora of choices out there. not like, oh, you only have two to choose from everybody seem to be having their channels trip. So maybe there's something to that whole workflow thing, right? Do you need to get them all? No. Is it fun to own them all? Yeah, it probably is.
(laughs) Yeah, and you can go, "Hey, I think I'll use the Trident for this track," or "I'll use the API for this one," or "No, this is SSL," or then you can go even crazier, right? [Silence] And go, "No, for my drums, I always like to use the API," or "Guitars are SSL if you want to go really nutty," but that's not something that I necessarily delve into like that. I tend to stick with one console for an entire mix. And when I say console these days, I'm talking about the slate stuff, right?
virtual channel strip rack. Alright, and with that, we're going to take a quick word from Exactly. The our sponsors. And when we come back, we'll be talking about pros and cons. And we're back. And we're going to start diving into the pros and cons of getting into the use of channel strips and virtual channel strips that don't necessarily emulate old console here. What's a pro to you? Uh huh. Uh huh. The biggest pro to me is that it is everything in one plugin interface.
For my experience it has streamlined the workflow because I'm no longer closing plugins, opening up another one to adjust the compressor, going back to the EQ, opening another one. Everything is right in front of me. Mm-hmm. So I think that itself makes it a little bit more focused perhaps to have that. Hmm. So this is probably very individual, obviously, and everybody will have to decide if this Uh-huh. workflow works for you.
But as I was hinting at before, when I adopted the Slate virtual mix rack, it was a different Mm-hmm. OK. mindset for me to have everything in one, in one plug-in window. But as soon as I started realizing the benefits of it, it made my work faster, I think. [laughs] And that was not just like a slogan from like, from, from, from Slade, but, oh, it worked faster. >> Yeah. But actually I do, I think, because everything is right there. And the overall thing there for me was just speed.
And I had everything in front of me and you could obviously adjust, not everything is set in the signal workflow in the rack. So you could put your EQ before or after the compressor if you so chose, right? It's not necessarily that you can do that Thank you. in every channel emulation, [Silence] but with this, I still had that flexibility. So it was something that I was able to adopt. And now, yeah, it's very, very rare that I use a different type of EQ compressor that is not in that rack.
So for me, it's been really, really helpful. I'm still really intrigued of trying to use more of like a strict emulated like console emulation, like some of the brain work stuff, Mm hmm. Well, it sounds like you need to start thinking Adam style and envisioning the final I have the 9000J and the experiments I've done with it. It's like, yeah, I really liked the sound of it. I just haven't had a project where I felt like, okay, this project, I'm gonna stick to this come hell or high water, right?
I'm gonna make it work type of thing. So. product before you even start the mix. Mm hmm. Yeah, and I think that has also been a little bit of the caveat for me where it's not like the 9000J isn't flexible because it certainly is that. But when I was thinking that, I was thinking, OK, I'm thinking sheen, I'm thinking a lot of bottom end, a lot of low end type of thing. [BLANK_AUDIO] And for whatever reason, the projects that I've been involved with lately have not necessarily fit that mold.
It's just that, it's a mental hang up. So whatever mental hang up I have of that, I just haven't pulled the trigger, so to speak. So yeah, what about you? Well, the value of it had more to do with the concept of the three albums. What made you want to jump on that with this last project that you're working with and wanting to sort of dedicate that to a channel strip workflow? and One is called past, one is called present, one is called future, and it revolves around holiday music.
Yeah. What's been the, what's the biggest challenge for you? What's the biggest challenge And I figured, what better way to deal with an era that the music is supposed to represent by picking an actual channel or console emulation that represents that era from when the music came from? And why not just force myself to work it that way? And it's been an interesting process as you mentioned. for you. Yeah. I want to say flexibility, but it isn't technically flexibility.
It's just getting used to the limitation, so to speak, that you mentioned in that I'm [ Pause ] got the channel strip emulation across every channel, including buses. So it's like I have every channel covered by the console, so to speak. [ Pause ] And listening more intently to the audio on that track and using EQ and filters first, [ Pause ] which for some reason seems to be the reason that I'm using these things. [ Pause ] It's like I'm using them for their imparted quality of their EQ.
Okay. That was the original intent. also is the era that they come from. So for the past album I'm using a old, old channel strip Right. emulation. For the present I'm using the Focusrite emulation and for the future I'm using the 9000J Something is happening here. Interesting. because it's the newest emulation that I have. I find myself dealing more with EQ up front. I also find myself not using nearly as much compression. And when I am using it, I'm using it much more judiciously.
Okay. I'm not going nuts with it is the main thing. But you're not one that from my experience, and I know you fairly well, I would never say that, yeah, Jody, he's really heavy handed with his compression. I used to be a long ass time ago, but not anymore. No.
So. Yeah. Okay. I am learning also in addition to that, that along with the compression and using a little [ Pause ] bit less of it or not using nearly as much of it, I'm finding myself wanting to adjust the faders by manual manipulation a lot more, which goes back to the concept of using an actual console where guys, as Adam even described having four guys together, all learning in conjunction how how they're gonna move faders and twist knobs as they're trying to mix a tune.
Right. Right. No. And they practice that for hours until they get it right and boom, they lay it down and that was the one time that pass worked, so to speak. Whereas now you can do all that by yourself by just automating each little pass as you go. And that's something that I've been doing on this project as well. And I find that it's making the music a bit more dynamic Oh, so you're doing most of this in Luna that I'm taking? and it's certainly giving it a lot more depth and such.
but it's also forcing me to think because I'm using a different DAW than I normally would. And the re... I'm doing it all in Luna. Not most of it, all of it. Okay. All right. I didn't track it in Luna, Okay. but I am mixing it all entirely in Luna. Hmm. And Luna's still got a long way to go when it comes to automation, which is part of the reason of forcing myself to use channel strips to think more console-like. And that's helped.
Wait. (shuffling) just a different workflow and it's working really well for this and it's like, man, I could use this on things going forward in a way that I hadn't done in the past because (laughter) (m Y prior to this, and you can probably attest to this, you create these ridiculous templates Yeah. Yeah. that had everything on every channel strip already ready to go when you wanted to go do a mix and then you'd just jump right in, you'd be opening and closing plugin windows
as you went. And it's the same workflow, you're just mousing around a lot less and clicking a lot less, at least to me, I find the same thing that you found. It's like having everything in one interface makes it a hell of a lot easier to deal with. [ Pause ] And I'm not constantly opening and closing. Now whether it's sped up my workflow, I don't know. It's certainly causing me to listen a lot more intently.
And it's not to say that I don't listen, I didn't listen intently before, but I certainly am listening more intently now. That's not to say that I'm not occasionally using a MOG EQ or a certain compressor. It's just that I do have a particular emulation of the console across the entire mix on every single channel strip, just like you would on an actual console, but I'm still adding Right. Yeah. things where they may be necessary if the console is not quite giving me what I want. I agree.
And I think there's something to that because there's a key phrase that you said in there but I'm substantially less plugins on these mixes. That's kind of the whole point of the job. where you listen a lot more. That's important, right? Because it sort of is, isn't it? (laughs) you start to learn what said compressor actually do. It's very easy to have the habit of like, ( Kathleen exhales deeply) ( Kathleen exhales deeply)
okay, well, here's my bus of vocals. Okay, I'm going to put on the BVs, I'm going to put another [ Pause ] LA2A on there. And you don't necessarily think too much about it. It's not like you don't listen, but that's so ingrained in your workflow that, okay, this is what I'm going to do. And this is Mm hmm. Well, its compressor does. how I want to listen. I want to have this and this much gain reduction, blah, blah, blah. And And that's your workflow.
But when you have a new way of doing things, it forces you to kind of relearn that. Okay, so now you're mentioning the focus right, right? Okay, so now that's going to behave differently than an 1176 or an LA2A. Well, that's what I'm saying, right? Hmm? So the compression section in that means now that you have to listen more intently to what Hmm? it's doing.
instead of just listening for, oh, I know I want to take off, I don't know, [silence] five DB on this vocal or whatever your usual workflow might be. But now you have to listen for that. Okay. Well, what does that do if I take off five DB here or have five DB or gain reduction as with the SSL, for example, that house like an automatic makeup gain. Mm-hmm. So when you're compressing harder, it brings the level back up. Right? [BLANK_AUDIO]
So those are the things that you have to kind of listen for again. And I think a sort of like rejuvenation can happen with that because you're forced out Comfort zone, yep. of your comfort zone as well. [BLANK_AUDIO] Yeah, I think those are they sound like they would be cons, but I actually think that they're their pros because it benefits you in a way and it benefits the mix eventually once you Sure. So what's a con in this situation?
start learning these things and you're paying more attention to what it is that you're actually doing. Well, it could be that we're actually tied to one compressor or one EQ, right, per channel (silence) strip. Mm-hmm. It's not like you would have, "Well, here's my kick. (silence) I'm going to have a blue stripe 1176 and then I'm going to have a pull tech," whatever, right? That's just an example, throwing something out. [ Pause ] But now you're, nope, you're not.
You're using the Focusrite compressor and you're using a Focusrite EQ. Make it work. If you have your favorite things, this will bypass that. You have to kind of redo it. And if you have your comfortable blanket, snuggy blanket that you like to use when you're [LAUGHTER] processing a certain track, that could be conceived as a con, right? Yeah, that's very true. Where you no longer have that. Another one would be that it's possibly less signal routing options that you will have.
Because not with every channel strip emulation comes the possibility of routing the audio in a certain way. It might be set. So yeah. And as an example, the Helios is very set, but it's also a little bit more limited Yeah. because you're really just dealing with input, filters, EQ, fader, that's it. Mm. There's no compression on that. And knowing how the Helios sounds, it does some really interesting things with the low filter depending on how you set it.
And over time, time to kind of fill this out. And that's something that it emulates Uh, maybe midi or midi to just end upainting that FORyaUS. the original console extremely well. And then you get something like the Focusrite or say the SSL in terms of if it's from Brainworks. You have options there where you can run the compressor >> Yeah. or actually run the EQ prior to the compressor or after the compressor. >> Yeah. Same on the UA API channel strip as well. [ Pause ]
You can order the EQ before or after the compressor. Now there's certain things that these console emulations can do in terms of the compression that isn't something the original console could do. And specifically with say the SSL from Brainworks, the 9000J. It has a mix knob on the compressor, Yeah, yeah, right, yeah, right. which means you can treat it like parallel compression, which you cannot do on a console, but you can do it in this plugin. And that's pretty awesome.
But not all channel emulations do that. Some do, some don't. Is that a con? Who knows? If you wanna work more like the actual console, well, having a mix knob on here, how much you can mix of the compression into the actual signal might actually be a con to you. Or vice versa. Yeah, but I think also, you know, this is not a con, but people like Michael Brower, If you wanna be able to do that and it doesn't come with that ability, that's a problem for you. Okay.
Mm hmm. Right. Which is he's famous who was instrumental in developing or at least giving feedback for the development team at Brainworks for the 9000J. It's like, yeah, this is exactly what my 9000J sounds like. This is what it should be. that's really, really cool. Is it a con to have all these extra bells and features? I don't know. Maybe back in the day, they would think, Oh, man, it would be really, really cool if I could just run this in parallel or whatever, without having to use
patch base and all. Right. Other cons to this? Yeah, possibly. for. Because we all know that mixing is done with your eyes and not your ears. Because the big one for me before I again adopted the slate rack, was it forced me to rethink what I was used to to looking at, right? And oh, definitely. Coolest, coolest Of course, you're joking. interface wins, right? That's, I think there'd be a split decision there between UA and Slate for that one, right? If it
was all down to interfaces. Of course, I'm joking. That being Of course you're joking. said, though, you know, we're joking about this. But when you're sitting down and you're mixing, it is nice to have Sure. something that looks pleasing to look at. You know, would you be as keen to work on a channel strip or That would sound worse. with a channel strip if it was just a black screen with numbers and faders on it? Probably not. So it
it's easier to laugh about, but it makes a difference. You get more inspired to work Sure. Yeah. with something if it's pleasing to look at. And that's just a psychological thing, right? It's I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. Same with like if you have a shitty looking guitar amp emulation, like, "Oh, I'm not gonna use that." I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure.
Because it doesn't make you feel a certain way. Does it sound the same way? Yeah, probably. But I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. I'm not sure. anything that inspires you to work, I think it's a good thing. So I, yeah, I'm intrigued about the I'm not sure. Sure. Sure. Sure. Right.
whole channel strip console emulation thing. I like it a lot. So I look forward to the next project I do to be mixed entirely on one of these and then I say one of these I mean not the slate thing yeah in a purest sense I'm really limiting myself to that so for my basic processing yeah You mean going with an actual channel strip emulation? I will say this about my experience with it is that I've already decided to start creating actual templates based on each console emulation that I do have.
So I have a template for mixing where I have all the channel strips set up and ready to but are you that right go where I can just dump the audio tracks into them, but they already have the actual channel strip emulation set up on them. And if it's a Brainworks particular channel strip set up for a console, be it the SSL the Focusrite, which are the two from Brainworks that I currently own. I also have them stretched out, so to speak, with their TMT. Is that what it's called?
Yeah. The TMT, so every single channel strip is not sequential, but they're also, no two are Yeah, because they're... technically the same unless I go beyond 72 tracks, which happens on occasion. So then some are doubling up, but that gets you that additional site variations that Brainworks Yeah, so they're emulating actually this was channel one on the emulated board and this is channel two and this is... claims to have from channel strip to channel strip.
Yeah, there's just slight variations to each channel. And they go, yeah, they're different. With when you're using the brainworks, the UA doesn't do So that's how nutty you can get with it. And yeah, right. that. You only have one. That's another interesting thing. I mean, would I recommend anybody go in to start like randomizing those? Oh, I always use my drums on track 14. Yeah, good luck if you're hearing that awesome. Hmm? Yeah, no, it's great. Chances are most of them I can do that.
But one thing that I know that some people were upset about Uh huh. or maybe not upset, but disappointed perhaps, or disillusioned or something like that when they started using the channel strip emulation or the console emulation, which was the first plugin I think I got from Slate. Before it was version two, it had the mix rack, is that the sound of the console itself, just like running it through an SSL, The Transformers. or right, is very subtle.
No. So where people think that, okay, I'm just gonna run it through just running through, it's gonna make night and day. Well, it won't, certainly not on one track, but when you start adding these tiny little things up to, like you said, you have a mix of like 72 tracks and you have the ability to turn that off and on, you will notice a difference. Assuming your ears are listening to, yeah, Attuned. and you're monitoring situations. Mm hmm.
If you're doing this on your laptop speaker, you're probably not gonna hear it. It is interesting because all those tiny little things add up. And like you're saying, like the brain works thing there, where you have a different emulation for each virtual channel, those small things will probably add up to just that extra little half a percent, a percent or you mix. So that's another added bonus of this, I suppose. Yeah. Yeah.
I agree. But like I said, I've made templates for every channel strip that I own. So that going in the future with additional mixes from clients, if they say, oh, I want a particular sound and this is how I would like to go about it and I get the novel concept of where they're going, I can pick the appropriate console, so to speak, to get there. Would I go so far as to start Yeah, we'll come back in five years and go, oh dude, try it in on keys.
like breaking out doing drums on the API and acoustic guitars on the Neve and vocals with different Neve and focus right on synthesizers or something. Maybe it's not currently in my future wheelhouse of plans, but that's not to say that I wouldn't do it. I just haven't decided to go that route yet. You got to do it now. Yeah. That's, you got to do it. Yeah. It's interesting though, that's the best word it can I use it is interesting.
Now one question for you, are you not going to get nutty again and do like all the different Yeah. Yeah. routing so you're going to create all this massive mix templates now with just everything No, they all effects and whatnot happen while I'm doing the mix. else you just including the the challenge to plug in? Yeah. Yeah. All right. Good man. Good man. What about reverbs though? Now it's outside of the topic here, but are you including that or no?
Okay. So I created additional channel strip and I throw the effect on that, but I don't pre-plan Yeah, but the tracks are now loaded with this is my focus write template, this is my and the effects like that. Yes. Mm hmm. Yep. All right. And with that, let's move on to our for, Helios or whatever happens to me. Alright, cool. Cool. Cool. Yep. Sounds good. Well, Waves have another NX room available for us now. And if you're not familiar with NX, right. Dave finds Chris, what have you got?
it's the technology of placing you in a virtual studio environment using your headphones. Binaural Mm-hmm. [ Pause ] audio, that type of thing. So you could do head tracking where you're actually hearing the sound [ Pause ] change if you turn your head, that type of thing. Essentially the process here of taking your room [silence]
out of the mix. So if you're in a less than ideal situation, maybe you're traveling or something and and you're forced to mix on headphones, this might be something you want to try out. But they came out with a new one, a new room to these and it's called the Germano. And I believe this is from, used to be the Hit Factory in New York. So they just added to the arsenal there Mm hmm. So it. Yeah, I'm looking at a new reverb. And this new reverb is a reverb by what they had before.
I think they had Ocean Way Nashville and I know that CLA had his one. There's another one of those. So I thought that would be kind of cool for some people to check out if you're into this technology. What about you? What do you got? Ooh, science shiny. a company called Baby Audio. I'm wondering if this is actually their very first product. I have not technically looked them up to see how big their arsenal of plugins are.
The reverb that they have created though is called crystalline or crystalline. It's supposed to be apparently it is a, Okay. an algorithmic reverb that is supposed to embrace the concept of classic digital Interesting. reverbs. But what makes this kind of different, and I think this is kind of interesting is that not only can you sync the reverb Cool. the reverb attack time using your DAW's tempo, Okay. which you can do with a few reverbs, Take this.. most notariably right now, the neo verb.
But what you can also do is you can sync the decay time, Mmm, cool. which currently you'd have to be looking up with most reverbs like, how long do I want this to go? And then you have to figure out your milliseconds and seconds to kind of dial that out. but with crystalline, you can do all that automatically with the sync function of crystalline reverb. And I think that's pretty bad ass. So that's my pick for this week is the crystalline. That's pretty cool, yeah.
Awesome Yeah, while we've got your attention, [ Sounds of birds chirping ] we ask that you go to inside the recording studio.com [ Sounds of birds chirping ] [ and sign up for our mailing list. Sounds of birds chirping ] [ You will get weekly reminders about the Tuesday tips Sounds of birds chirping ] when they come out and we'll make sure you don't miss [ Sounds of birds chirping ] any future episodes of the podcast. [ Send us an email at goldstar, G-O-L-D-S-T-A-R Sounds of birds chirping ]
[ Sounds of birds chirping ]
at inside the recording studio.com [ Sounds of birds chirping ] with the phrase channel strip [ Sounds of birds chirping ] [ and you'll get something cool back in your inbox. Sounds of birds chirping ] [ Sounds of birds chirping ] If you have a topic of suggestion for Chris and I [ Sounds of birds chirping ] to explain in a future episode, Thanks for listening everybody. contact us at the contact page and we'll put it into consideration for a future episode.
And with that, I'll say, see you next week. [BLANK_AUDIO] Have a good one, Jyoti.