Hello! And welcome to another episode of Inside the Recording Studio. I am Jody Whitesides, and with me as always is Mr. Chris Hellstrom. How are you today, Chris? I'm doing good, Jodi. I'm doing alright. How about yourself? All right. Yeah. Yeah, I'm still thinking about the episode we did with Reuben Cohen. And yeah, I'm feeling like a champion almost. Yeah. Oh. Multiple times, even. because there was a lot of knowledge that he dropped there, wasn't there?
Yeah, even that there was a lot of good stuff there. So if people haven't listened to that, (laughs) Yes, it was an awesome episode.
do yourself a favor and go back and listen to that one, because there's a lot and you might even want to listen to it several times to make sure that you don't miss anything but yeah that was a good one it was good to talk to him yeah right what are we doing today We are fulfilling a bit of a request from a Roger Lavalley And we are going to talk a bit about file management for client sessions. Hmm. Sounds like such a rough subject, doesn't it?
Hmm, okay. Well, it's an important one. It might not be the sexiest one, but it is an important one. And because we've done a little bit of talking about backups and stuff, but it is so important, not just for client files and things, obviously, but for one selves as well. And thinking about the subject, we should probably start to talk about how we deal with our files and how we Yes, it is. Yes. try to stay organized before you even think about, you know, how you deliver them to a client.
(silence) The beauty of using Logic Pro is that I can choose How do you deal with your session files? Do you have like a certain file folders that you like to stick with or how are you dealing with that? that. Yeah. whether or not the audio files reside in the Logic Project or in an actual folder with folder structure format. and being the anal file guy that I am, I go with the folder structure, especially for tracking and keeping track [ Pause ] of all audio files recorded during a session.
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It just makes me feel so much better when I can see those files easily and I don't have to navigate into the package contents of a folder inside a file created by the DAW. And I know that there are probably other DAWs that do it like this, like Pro Tools and whatnot. However, Luna does not. And that's my most frustrating aspect to Luna is that Luna ingests every audio file. [Laughter]
And then even better, and I say that sarcastically, It gives it some arcane long string of numbers and letters in the file. file name. That sounds like a whole nother episode at some And no, that is the file name. It's just like a long stream of letters and numbers, and it has no relation to anything, which is extremely frustrating if you're trying to go delete a file that you don't need in the session. It is. point. But yeah. But in part of staying with being organized, Yeah.
that is really, really terrible organization. That's like my biggest pet peeve to Luna. And I'm sure there are other DAWs that do it, but... Right. Yes. Just to clarify as well, if you are a Logic user and you're not going for the folder option when you're saving, It essentially is doing the same thing, you just have to open the project file and show its content stuff. And then you have to go in and show package contents. Yeah, right.
And then I would think, and I have not studied this, [BLANK_AUDIO] and then maybe I should go look right now and make up something. Well, I'm not gonna do it while we're doing the podcast, but I would hope that Logic treats it the same way I don't know if that's an old school way of thinking, that it does its folder files and doesn't give it like Luna's arcane string of information instead of a file name that makes sense based on the channel strip that you've recorded it on.
Yeah. where you, because I'm with you, I want to see the folders that are there, I want to see the files, Yeah. Yeah. I want them to be named, how I like to name things, and I just like to have that control. Yeah. I'm sure some people are just, you know, say to forget it, it's like, I don't want to deal with that, just give me the whole project thing, and I'm happy, but I am not one of those. I like to see everything, because as we might talk about later, I like to delete things and takes where
they're no longer needed when I do my backing up. So I just have a very streamlined folder of what I need. - Yeah, there is that option. And Logic does have a very beautiful thing of saying, archiving or something to that nature where it will trim all audio files to the region length and then it will remove all unnecessary audio files if you wanna do that. I don't tend to do that. I used to, but I don't anymore. (laughing)
Yeah, I don't go into that as well. That almost seems like a weapon more than a tool to me. It can potentially do a lot of damage, I think. Maybe I'm just scared that way, but Right. yeah, I'm afraid of losing files that way or something getting screwed up, so I don't do that either. And part of the reason why I'd like to know the file names is that if I want to go in there and I would like to just edit a particular file, say in Rx, you have to know the file
Right. Yeah, so yeah, so I think moving on from from that, it's the folder structure that tends name that you're going after. And in Luna, you can't do that. And it's just so mind numbingly stupid. to be in there in logic. And I think it's relatively similar for whatever DAW that you're using, it would have a similar function might be named slightly different, but there's going to be the project but there's also going to be the folder with the audio files.
Yes and most often just called audio files. Yeah, what do you think? There you go. And Logic also creates a (laughs) And that keeps it simple. It's like, "Hey, where am I looking for audio files?" In the audio files folder. For exports. folder called Bounces which is, you know, it's your mixdown basically. Yeah, it also (silence) has, now this is an optional thing, but it has a folder for samples and freeze Well, most computers these days have the power
files. Now those are kind of logic specific in the way that I look at them but because the way logic freezes files I rarely do these days because yeah the heavy track count is not such an issue unless you do in giant to generally run a high density mix or heavy processing session. But back in the day,
orchestral scores type of thing. Yes. Yes. Yeah. And do you remember when you could use when computers didn't have that kind of power, you had this neat little function with a little button that looked like a snowflake, and it still does. You press that button, you press play, and all of a sudden logic would take a moment. It would export that particular track to an audio file that it would play back in place of the heavy processing that you needed. Yes, I do, and I had one.
the nodes as well. You could network more computers and yeah, yeah I never really Yes, we are. got into that but anyway we're getting off topic. Also with logic we can do if [silence] you're using space designer which is the impulse response reverb or the IR loader and logic you have the option of saving those impulse responses with your
project as well and that's something that's very very handy. That has happened me on more than a few occasions where you open up like an older file and you haven't had that option checked. Hey, where's this IR and then you have to go. Right. And you Or where is this reverb? (laughs) And you better hope you have it archived somewhere else more often than not have to go, fuck, I don't have that anymore. So either that or you pull and find it anyway. >> Thank you.
up something similar, right and make the reverb work. But a similar file structure for each Good afternoon. song is obviously really helpful. And we touched on the IORs there, but obviously for playback Everyone this is and everything, making sure that you have every track saved there. I've seen people that have the workflow that they record to their desktop. And it's just like audio, audio, audio. And it just
makes me shake. It's like, it's the worst way ever. And sometimes people ask me, (laughs) Right. me, well, I can't find this file. Well, what did you name it? I Yeah, it makes it much more difficult that way. don't know. Well, then I can't help you. You know, so yeah, it's Mm-hmm. I do. not to get up on a pedestal here and talk about but these sort of workflow enhancements. But if you have these in place, when you
start, you very rarely run into those issues. Good file structure is good for everything. But other things that you might save with your project after you're in your sessions, what are some of those that you do? Do you do anything beyond the normal sort of recording files or how do you deal with that? - Okay. but let's talk about it after we get into the concept of how we might set up a folder structure per a client and so on, okay? - Good! To describe what's going on here, - Mm-hmm.
when you have a client come in, I have a master folder for the client that is their name or their band name or their artist name Yes. or somebody important to that person that's gonna be in charge of taking care of the files, Apparent folder if you will. a parent folder with their name.
- Good. - Yep. Then inside that parent folder is going to have folders If it's going to be an entire album, I'll make a folder that is a parent folder to the songs inside the client folder with the name of the album, or at least the project temporary name of whatever we're gonna call it. And then inside that, the song folder for per song. Each song folder is going to have the DAW session >> Yeah. for tracking.
It's going to have the audio files folder for keeping track of all the raw takes that are recorded. it will have the multi-tracks folder that will get the eventual raw outputs of said recorded tracks as they are final edited, so to speak. Then I will have a folder for any samples that are used. And since I'm tracking in Logic, Mm hmm. Yeah, that's auto generated as well, right? Yeah, if you do that. So yeah.
I will have a sampler instruments folder that keeps all the sampler instruments that is used by Logic that go into that folder. I don't, that's auto-generated, yeah. And then I will also have a folder [BLANK_AUDIO] for the impulse responses and if needed, which I haven't needed for a very, very long time, the freeze file folder that will house Yeah, I do a very similar thing. the frozen files for playback. Mm-hmm. Mm-hmm. I have kind of just go off of what you just said.
I start with the artist or the person name, right? Okay. And then if it's a returning client type of thing, I will still have that. ( ( audio cuts out) but then name, let's say album number one ( audio cuts out) ( or album number two, whatever those names are, right? audio cuts out) audio cuts out) ( ( And in that, obviously the corresponding files. audio cuts out) ( So everything is contained and easily found audio cuts out) ( audio cuts out) ( in that structure.
audio cuts out) When you go in and you say like ( audio cuts out) that would house the multitracks and everything as well, ( audio cuts out) that's something that I tend to do as a separate process. ( audio cuts out) ( Yeah. Well, yeah, it's the process before going to the step of mixing. But it's a folder that I put there. But right, other things that are important to remember as well,
Well, yeah. (laughs) during that process, obviously, before you go mixing, I know you're really good at printing your virtual instrument tracks. Yeah, well, it will only take you, I don't know, 10 or 12 times Well, but those prints actually go until you learn how to do that before... when you've yes, the the point yet. Right. The point I wanted into the multi-track folder, right? And they get appropriately named.
to bring up here is that it can be very helpful if you're using a third party synth or virtual instruments to if you have specific patches that you have used for those sessions is to make sure you save those patches. Now that sounds obvious, but it isn't always. So you save that and I would go so far as create a folder in my preset folder No. I have one other folder that I just forgot of. that it's under that client and then with the appropriate name. What's that? Okay. It's a image folder.
I will take snapshots with my phone of the hardware used (silence) (silence) and the settings set. So not only do I type that into the channel strip, (silence) text information of the channel strip, but I have an image that I will save with the project (silence) or the song folder of the actual hardware setup (silence) so that I can dial it back up to the same settings (silence) by looking at a picture.
I take a picture, but I make notes in the channel strip Okay, so you don't go by the old school way of having recall sheets and doing that. just take, nope, I got my iPhone. I'm going to take a picture of it instead. Right. There of the settings, but having a picture you go. All right. So going back to the presets, one thing as a warning or as a heads up for just makes it a lot easier.
Yes. Yes. [ is bad ] I Gliked you dear listeners out there, let's just say that I have intimate knowledge of this one. And that is if you are a contact user and you make the mistake of just having it in [ Pause ] your session and you have who knows how many instances in that contact in your session [ Pause ] file, you think, okay, well, that's fine. I'm just going to save that with my session file. Save that as a preset. Now here's why.
When contact upgrades, it might not be backwards compatible. For me, for example, it happened that I had an old project where it's using contact five. I had a bunch of instruments set in there that was damaged. There was all sorts of things that I like to use. Damn it. Going back and trying to open those contact five doesn't run on a modern system. There's no installers for it. Contact six won't recognize where you had in contact five. They're not backwards compatible.
If you save a preset, it works fine in Dandy. So save that down preset and you won't have to deal with a headache that I have to deal with. So it's one of those lessons that I'd like to pass on, but that's something as well. (laughs) Yeah, and another issue, or less thereof, But if you're doing the process that you mentioned where you're essentially just printing your virtual instruments, that's less of an issue for you when you do indeliverables and stuff. There you go. It's a... Uh-huh.
Well, with virtual instruments, let's say that it's a contact instrument, is a word from our sponsors. And we're back, and we're gonna move into the concept that Chris was just kind of diving into there of printing files of your virtual instruments and other things. And we'll talk about how we go about doing that. Start us off. Mm-hmm. where I might be using more than one instrument, as it were. I will not have those as a stereo pair. [Silence] I would make sure I multi all of those out.
So I get them all separate. So maybe one is housing a percussion track and one is a big Brahms. I don't know, whatever happens to be right. I would separate all of those out. Also another thing that when it comes to printing tracks that I do is with guitar tracks, guitar and bass tracks, Hmm where I will definitely have just the DI track, Oh but also the sort of print that might go through the emulation so that I have just the tone right there.
But then again, as we've talked about when we're recording guitars, having that DI so you can actually have the option of enhancing or completely just replacing that track. And that goes the same for bass for me as well. Yeah, well it makes good sense, especially if you get into the mix portion of things Yeah. Yeah. and you decide, "Hold the cow. This particular sound is not working. We need to modify it."
You can go back to the original source, make the modification, re-export that track, and then bring it back into the mix and hopefully save your butt. It's a good way of saying it. Yeah, you mean as far as like vocals and things.
One of the other things that I'll add on to in terms of printing out your virtual instruments and your emulations of things like guitars and basses and such, I will multitrack out edited finals so that I have a clean track from start to finish of the DI track or whatever, vocals, the comp and everything, yes.
I will keep all of those files in the original session, Absolutely Yeah, absolutely but for the multitrack stems or the multitrack files, I will make a clean singular file of all those edits. Right. It looks to me like I'm going to just kind of jump here with the notes that you've I'm the same way because why do the same work twice right if you have it the only reason I would save the original files which obviously I do is if
Something is wrong, right? Something has happened or you might have to you want to go the singer goes I don't like that take the way it's saying that line. Can we do a different take? You can go back and do that. So it's not ideal That's just for a backup thing when I do that written here, you it looks like you put folders for each instrument group inside your multitrack folder. Is that correct? Oh, yeah. See, my difference there is that I actually name the
Yeah. Yeah, no, I do. Yeah, no, I do that as well. It's essentially just for ease of channel strips with the header of what group it belongs in. So that when you look at a file list, all guitars are listed together. It doesn't matter what kind they are. Same Same thing with base or. Uh huh. finding stuff. It's all I know. It's a keyboard file. I'll just go into the keyboard folder, Yep. Okay. So you're doing an additional folder.
that type of thing as opposed to just having a long file. It's just being anal-retentive. They're still named the... Yeah, no, I just have that in it for at least the way Logic works. When you go in and create your See I just go with the file name. Makes it easier for me. Mm hmm. Mm hmm. Yep. Well, there you go. mix-template if you're starting from scratch or whatever, I like to do them by just doing by Yeah. Well, here's another folder. I'm going to go to the next folder.
I'm going to go to the next folder. I'm going to go to the next folder. I'm going to go to the next folder. I'm going to go to the next folder. group. So I will start by just, you know, importing all the drums, and then I'll do the percussion and I'm going to go to the next folder. I'm going to go to the next folder. I'm going to go to the next folder. I'm going to go to the next folder. I'm going to go to the next folder. I'm going to go to the next folder. I'm going to go to the next folder.
then the bass and that kind of thing. And it just makes that process a little bit easier for me I'm going to go to the next folder. I'm going to go to the next folder. I'm going to go to the next folder. Well, there you go. anyway. And I like the way it looks. There, I said it. Yeah, yeah. Well, there's another folder that I forgot to mention that goes into my song folder, You're the world champion of folders and you're giving me crap about having additional folders. so to speak. I am.
Yes. [laughter] Well this folder is called mix folder so that when you are done with your tracking session Yeah. [ Silence ] and you now are moving on to your mix session. All of my DAW files, whether it be Logic, Pro Tools, Luna, Digital Performer, Cubase, what have you, Studio One, they all reside in the master song folder, [ Silence ] but the exports will go in different spots. So I will name the mix file,
Yeah, yeah, yeah, I end up with the same thing. Obviously, it the name of the song file, dash mix, with big capital letters on M-I-X. So I am very aware of the fact that that would be my mixing template file where I've done the mixes, where I've imported the multi-tracks into and done the mixes. And then the exports of those goes into a mix folder so that the client can have the raw mixes before they're mastered. Do you do the similar thing there?
Okay. just goes into the balances fold but once I do the when I deliver them so to speak it just makes us but that could differ a little bit because it's usually I won't obviously deliver them or deliver the versions that they haven't approved right so there I would end up with a final mix now it could be a (silence) Instrumental, acapella, vocal up, vocal down, little bit of a different issue or a different situation if you have to
deliver different versions let's say that you're writing for a library or something where there would be full mix and there would be a just a exactly all of those things, right? lead only, no backgrounds. Right. Yes, that's why I have a mix folder for all those different mixes. And I do that for any client. Yeah, I mean, for me, at least has a lot to do with the relationship with the client. It doesn't matter if they're an artist or not. It's just the way I've set myself to do it. Hmm.
Sometimes they don't care and then it's just busy work, right? Hey here. I've made you a mix with no guitars. Okay You'll thank me later. Why'd you do that? You know, it's uh Yeah, well actually, you know what having said that I have done some stuff for people that (laughing) Yeah.
They want a file where they do clinics and things So there would be perhaps a an instrumental guitar type of a vibe But then they want a mix that doesn't have the leads on it so that they have a backing track that they can kind of do Hmm. Right. And that obviously goes in there as well. So that's pretty much the only thing that I come across unless It's for a library and you go into all the versions that that I just kind of mentioned Yeah.
Well, in addition to that within terms of the mix files that we have, once it's gone past the mix stage and it goes to mastering, if I'm doing the mastering, I will add another folder called Masters. Well, actually I add that folder regardless who does the master, whether it's me or not, but my DAW files that I do the Masters with [silence] if I'm doing a Masters is the name of the song dash Masters.
And again, that resides in the main song folder, but the actual mastered outputs go into a folder labeled Masters. And inside that, because I am a little bit crazy compared to Ruben is a minus 14 LUFS and a minus 16 LUFS. [laughs] Right, yeah. I'm not quite to the standard of doing one master Okay, yeah, so basically what the last half hour has been is encouraging people to stay that rules them all. I still do multiple masters. Yes. organized, keep everything on the one roof, right?
It's almost like a family tree, I look at it. You know, you have the top one with the artist. [ Pause ] If there are different projects, they will have a separate folder underneath that or in that. And then the song files, and then the song files, of course, include all the stuff that we just talked about. So now, we're actually starting to get to the meat of Roger's question here. When you're delivering these to a client, and consequently after that,
Mm hmm. Yes. storing them, how do you go about when you give the client Mm hmm. the files? Do you tend to give the mix that you've done? Do you I go about telling the client that they need to bring me either a Blu-ray or a thumb drive. often give the multitracks and do you sometimes even give the mixed template of the project that you've actually done the mixing in or how do you usually go about that? [Silence] It used to be a DV, now it is bumped up to Blu-ray or a thumb drive.
And the reason for that is, as an example, I just finished a project for a female artist. And the final full song folder with all the files for everything that was delivered was 19.28 gigs. That's not gonna, for one song. for one song. Is this 96k? Okay. I was like Jesus that's a lot of files. Yeah. And the reason for that is, it was recorded at 96.24. So obviously it gets big, right? It is, but it's also, it's got every take yeah. so that was every done in the audio files folder.
It's got all the different mixes. It's got the masters of multiple masters, [ Silence ] and then it's got all the DAW files. So I don't care if somebody decides, oh, I'm gonna take this to somebody else. They're gonna have the multi-track folder in there so that if the person can't open Logic and they only have Pro Tools or some other DAW, they can take the multi-tracks of the actual raw tracks and pull that into their DAW and do a remix or whatever it is they wanna do.
or if they have logic or Luna, which are the two that I tend to use, they can pull that into either DAW and pull up what I did exactly what I did Right. That obviously... and they can have it. It's not like I'm being proprietary about it. Yeah, no, I think some people (laughs) Well, it might be, but it might be. can feel a little bit uneasy about doing that kind of thing. I can sort of see it both ways. Some would argue that what you do to the mix, that's
not really for them to seek kind of thing. They just want the last. But it's not like anything. It's like trade secrets here, right? Now, if somebody wants to... Yeah. Yeah, that's very noble of you. I could go either way, I really don't care. It's just that I don't really care. If somebody wants to study how I did it, that's fine. Yeah, it does mean that, yes. That of course means that whoever's going to open it up on their end, they would need to have
access to the same plugins that I do for them to really get the benefit of it. So that's one thing. Now in addition to delivering those files, Yeah. >> Right. and this set artist that I was just mentioning had to bring over a thumb drive because they don't have a Blu-ray drive. There's no way, I could archive it on that if I wanted to. Try it. Yup. but they had a thumb drive and they were like, "Well, why is it so huge?" And I said, "I'm giving you everything involved with your song."
And in addition to that, they get the master's folder that has all the masters. Beyond doing that for the client, I also have a raid, which I know you recently picked up as well. Yeah. Yeah. And I back all of that up onto my system of backup, the raid system that I have. And technically right now, my RAID system is 12 terabytes. And even though I have not put everything I've ever done in my career on it yet, I still have roughly five terabytes left.
I know that once I hit the limit of about 10 terabytes, I'm probably gonna be upgrading to a bigger RAID. So. Maybe I should backtrack a little bit and say how I tend to do my deliveries as well. Right? Because I tend to give them essentially two folders, if that's what they ask for. One is the session file with all the takes and the folder structure that we've been discussing here for the final mix. So they can open that up and do whatever they want with it.
Zero. But I also have those multitracks, which are just the raw tracks for all the virtual instruments, Zero. Zero. for all the recording takes. And these are now clean, right? These are all going to start from bar one into the end. Zero. Mm hmm. So if they use a different DAW, they can just pull them in and do whatever they want to Right? them. If they want to do a remix, if they want to give them to anybody else, whatever. The same thing would be if I were to give them to somebody else to mix.
I'm just the tracking engineer or whatever. That would be the same thing. So they would have the session file with the final mixes. If there are masters done, they would be in there as well, right? But there's two folders. So you have that. Now for the backup purposes here, I do, like you Uh huh. said as well, I have a RAID. I am not of the mindset. I think you and I are different like this. You say that I would, you know, you would update your rage so that you can fit more stuff on it.
Right? Yeah, I wouldn't do that. I would once I'm done with that rage system, I will probably dump it onto another drive. Have it there because chances are by that time, Hmm. Right. I'm not going to revisit it next week. You know what I mean? And if I needed to, I would just pop in the other drive as well. Now these are at this point anyway, for me, Of course.
they are spinning old hard drives because they're cheap for Per terabyte type of thing that you get right I do for those they're not getting heavy use so I'm okay with that Right. And my rate is not getting heavy use. that? Yeah, I don't remember what read system it is. I should So I just tend to keep it all on there. And it's of course a RAID 5. Is that what it is? Where it's a mirrored RAID so that both of them are archiving the exact same thing.
So it's if one drive goes down, I can replace it and it will rebuild everything back. Mm-hmm. know that but I know I have the same system where there's basically two drives in there and they're just mirrors of each other. Right. So yes, do that same thing to the optical drive option is I feel (silence) Yeah, to an extent. going the way the dodo bird, isn't it? I mean, because right.
I still have a bunch of Blu-ray and DVDs that are sitting around that I will not throw away, mainly because they are the very original backups of certain things. But I don't tend to back up to them anymore Yeah. Yeah. And especially for backup and arch having purposes unless a client asks for them or they're like, "Well, I don't have any other way." Well, then you're getting a Blu-ray and you'll have to figure out how to get the stuff off. Or they can buy a separate hard drive.
I mean, that's another thing is you buy a separate hard drive per project. There's lots of people that do that. Mm-hmm. because all drives are so cheap now that bring me a thumb drive Right. like you mentioned, or a separate hard drive and you go, okay, here you go. Now it's up to you.
I will keep my, those session files in my raid until I really don't need them anymore, actually we'll stay in the raid for a while, but I will take them off my main recording drive if I've already given the files to the client. So then I can get a free up that space. Yep. And it's, it's a little bit like giving birth. I would imagine, but you just want to get it done and move it out. Something I know that Roger had asked about was cloud storage.
Now this is something that I was considering at the time I was going down the route of updating my backup. I ended up not going with it. I do think that it is a nice solution. just because... can be, but it also depends on how much cloud storage you get and what it costs. Yeah. And the reason why I say that is, is you just were like, holy cow, 19 plus gigs. That's, that's a lot of data to be uploading to a cloud storage. No... Right. See, that's one of the things...
Uh huh. Yes. So what you get per dollar for how much memory you get, that might not be super cost effective. Now the reason why I like it is because it's off-site, right? So should something happen in your studio, let's say that you have flooding or fire or something horrible like that. It doesn't matter how many raids you have, they're burnt to a crisp, you know? No, this is very true. Put it inside a fireproof box. So, right.
So that's why I like cloud storage Yeah, and I can't even imagine how long it would take to upload 19 gigs for most people as well as the ability to access that storage if you're at another studio, should you need to. So I do like that. It's not something that I have actually done, but I do like the idea of that. But I found for me at the time anyway, it was not the most efficient way of doing it. Yeah, never mind doing a whole album like that.
Because most people don't have fiber on the internet. Yeah, that's the thing. Touched on things. But yeah, that's how I, hopefully we answered Roger's questions there or at least give some kind of insight of some solutions that are worth to explore perhaps. Yeah. I think it all starts with at the recording stage where you have to stay organized and just getting that into your workflow where it's like you know I don't think about how I do things now it's just it's just part of the workflow.
It's just the way it's done. Exactly. Yes. So yes. that. Let's move on to our Friday finds. What do you got for us, Chris? I'm excited. Oh, it is. Is it? I got hooked up with something this week that wasn't going to be my Friday fight, but now it is, damn it, because it is. I think it's really tone or yeah, I don't know. Real tone. I don't know. Really tone. Is that how you say that? Reality tone? Really tone? Anyway, really, yeah, reality tone. No. >> Thank you. Nightfall instrument.
It's a pre-release at this moment of the taping of this. It is a virtual instrument, runs in the contact player, or the full version of contact action, I believe. It is a sort of hybrid instrument of soundscape-y type of orchestral type of stuff. Oh. And I really like this thing, man. It sounds really, really cool, especially for this stuff that I do. Oh. It's really cool and the ability it has with the mod wheel to blend two voices together.
I know this is not unique to just this instrument, but the way it's implemented in this is really, really cool. And there's some great creative uses of this. So I'm excited about that. Nightfall has to be my Friday find for this week. And I know you had several options as well, Jody. I'm going down the route of a guitar simulation from one of your favorite companies. So why did you end up going with here? Oh, is it now? Oh, it is. [BLANK_AUDIO]
It is Nambreni Audio has come out with the JMP Provalve amp. And if anybody is familiar with the concept of JMP and the notion of guitars, they'd know Yeah. that that is a Marshall amplifier. And the JMP actually stands for the JMP-1. That was a rack mounted amp from Marshall.
So Nambreni Audio is now bringing its choice ability [Silence] to emulate the JMP-1 to your DAW or plugin host used main stage or some other program of that nature where you can just use your computer as your guitar amplifier, which is what you and I do most of the time. Yes. Indeed we do. The JMP Pro valve amplifier is my choice. Wow, you sound so excited. Yes. As well, you know, I'm trying not to drool all over myself. All right, well, there you go. While we've got your attention, Thank you.
we ask that you go to inside the recording studio.com and sign up for our [ Silence ] mailing list. You'll get weekly reminders about the Tuesday tips. when they come out and we'll make sure that you don't miss any future episodes of the podcast. Send us an email at gold star G O L D S T A R at inside the recording studio.com with the phrase file management and you'll get something cool back in your inbox. Just like Roger just did. Have a good one, Jody. Thanks for listening, people.
If you have a topic or suggestion for Chris and I to explain in a future episode, contact us at the the contact page and we'll put it into consideration for a future episode. And with that, I'll say, see you next week. haven't been taken too clearly