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Tracktion T7

By
Bryan
-

We reviewed Tracktion 5 (here) and really thought it had great potential, it just needed a facelift in the interface depatment. Well T7 delivers on that and more.

SEATTLE, WA (March 1, 2016) – Tracktion Corporation, a music recording software developer known for bold innovation, has announced the launch of T7, the latest version of their popular digital audio workstation (DAW). Starting at only $60 for a new license and available exclusively from tracktion.com, T7 introduces new technology to inspire creativity while remaining remarkable value.
Introduced in 2002 by Julian Storer, the Tracktion DAW represented a new approach by breaking from the traditional recording studio workflow. It empowered musicians of any caliber to produce multi-track recordings without previous studio or DAW experience and steadily gained a large user base. While many Tracktion breakthroughs are now being adopted by competing applications, T7 elevates the state of the art once again with the most comprehensive upgrade in the platform’s history.
“With T7, we’ve taken the Tracktion paradigm a lot further,” explained Lead Developer, Dave Rowland. “In addition to a great looking, more dynamic user interface, there are a lot of practical improvements designed to boost productivity. However, I’m most excited about the new tools for manipulating clips and plugins. With unique features like these, T7 will take users in new directions.”
One of T7’s creative-oriented introductions, Clip Layer Effects (Pat. Pend.), allows complete control of sound design at the clip level. Another new feature, Multi-Browser Sync, provides the ability to preview many files together, from multiple browsers, in sync with the edit. For plugins (VST and AU), there is a new visual selector to speed the sorting process and new LFO Generators to quickly modulate any plugin parameter. Even the MARKETPLACE interaction has been improved making it easy to shop for new virtual instruments and effects without leaving the T7 app environment.
Visit https://www.tracktion.com/products/t7-daw for more detail on these and many more fresh ideas. You can also purchase a license and download either T7 as the DAW only or in a bundle containing a suite of plugins for even greater savings. A free demo version of T7, to “try before you buy,” is available.

Price: $60 (purchase) $30 (upgrade)
For more information, visit https://www.tracktion.com/products/t7-daw

SPL DeS and TDx

By
Bryan
-
 
The Transient Designer is one of the staples in any engineer who records drums. No other processor can handle dynamics in the way the Transient Designer can. Now you can rack up as many as you want with the 500 series model. On top of that SPL has released the reliable hardware de-esser in 500 series with the Model 1503 DeS.

NIEDERKRÜCHTEN, GERMANY: having made their formal introductions at The NAMM Show 2016, January 21-24 in Anaheim, California, USA, analogue and digital audio processor developer and manufacturer SPL is proud to announce that it is shipping its all-new Model 1503 DeS Dual Band De-Esser — the original Model 9629 Auto Dynamic de-Esser now available as a single-slot 500-Series module — and Model 1502 TDx Transient Designer — the original Model 9842 Transient Designer also available as a single-slot 500-Series module — as of February 17…
Back in 1996 SPL seriously made its intelligible mark on the professional music, film, multimedia, and broadcast industries by inventing the Model 9629 Auto Dynamic De-Esser, a revolutionary 19-inch, 1U signal processor that represented an alternative way to reduce sibilance based on phase cancellation. Unlike traditional compression techniques, this procedure is much more unobtrusive and simplifies controlling the processing intensity to a single (S-REDUCTION) parameter. Perhaps unsurprisingly, given its ease of use and easily-audible results, SPL’s Model 9629 Auto Dynamic De-Esser soon established itself as an industry-standard reference tool amongst discerning recording studios and broadcast stations, as well as the live sound engineering community.
Cleverly, in 2007 SPL successfully squeezed all this and more into its Model 1070 Dual Band De-Esser module for its proprietary RackPack modular system, allowing users to freely configure an analogue rack loaded with proven and new SPL processors. Pertaining to such space- saving requirements, the Model 1070 Dual Band De-Esser even expanded on SPL’s original concept by making use of two frequency bands — HIGH S-REDUCTION and LOW S-REDUCTION — that can be used independently or jointly to increase processing effectiveness without introducing any audible artefacts.
And now, with the proven popularity of the 500-Series so-called ‘Lunchbox’ modular rack frame format (and accompanying power supply) showing no signs of slowing down as an industry standard, this technology is also available as SPL’s all-new Model 1503 DeS Dual Band De- Esser 500-Series module, making it easier than ever for users to mix and match it with their favourite 500-Series modules. Moreover, such focused processing with high and low bands makes it possible to process sibilant sounds with greater precision than before. Indeed, input signals are automatically adjusted so that the processing is uniform, regardless of the distance between source and microphone. Better still, switchable Male/Female Voice modes adapt processing in the lower band to better suit male or female voices.
Stepping briefly back in time again, in 1998 SPL showcased another audio breakthrough by inventing its Differential Envelope Technology (DET), which allows for level-independent dynamic processing by calculating differences in generated envelopes. These envelopes are always tracking the curve of the original signal to provide optimal results in every musical moment. The first product to make use of this technological breakthrough was SPL’s Model 9842 Transient Designer. Like the Model 9629 Auto Dynamic De-Esser before it, the 19-inch, 1U Model 9842 Transient Designer is surprisingly simple in use — using the ATTACK controls, attacks can be amplified or attenuated and, using the SUSTAIN controls, sustains can be lengthened or shortened. Only two such controls per channel are required to allow the user to totally reshape the attack and sustain characteristics of any sound. Simple. Saying that, the possibilities for studio and live applications are almost endless. And, again, SPL’s space-saving savvy saw this technology also making its musical way into its proprietary RackPack modular system in 2007 as the Model 2715 Transient Designer module, complete with an added OUTPUT GAIN control.
Today, though, all this and more is also available in the wonderful world of 500-Series rack modules as the Model 1502 TDx Transient Designer. Thanks to the new MIX (parallel mix) control, users can continuously blend between the processed (WET) and unprocessed (DRY) signal, so functionality is extended further still with three parameters — ATTACK, SUSTAIN, and MIX, each offering intuitive operation while combining to increase options for designing transients to suit a greater variety of programme material.
Audio specifications for the Model 1503 DeS Dual Band De-Esser and Model 1502 TDx Transient Designer are second to none, both benefitting from an impressive 10 Hz to 100 kHz frequency response and 116 dB dynamic range. So why not let SPL boost the musical range of your 500-Series module collection by racking up one or more Model 1503 DeS Dual Band De-Esser and Model 1502 TDx Transient Designer modules!

The Model 1503 DeS Dual Band De-Esser and Model 1502 TDx Transient Designer 500-Series modules are available to purchase worldwide from any SPL dealer with a RRP of €549.00 EURO (including German VAT)/$529.00 USD each.
For more in-depth information, please visit the dedicated Model 1503 DeS Dual Band De-Esser product webpage here:
http://spl.info/en/products/3338/des/overview.html
For more in-depth information, please visit the dedicated Model 1502 TDx Transient Designer product webpage here:
http://spl.info/en/products/3338/tdx/overview.html

Review: Joey Sturgis Tones Finality Limiter

By
Bryan
-

A while back, Everything Recording reviewed Joey Sturgis Tone: Toneforge Menace (Review HERE) and we mentioned how we would love to see the channel strip section of the guitar amp modeling plugin able to be used standalone. Everything Recording is pleased to say we got half of our wish (we’re still hoping for the EQ section as well) with the Finality Series Limiter. Actually we got a little more than we wanted in a whole new algorithm complete with more features and versatility.
 
Finality comes in two versions- the Lite version which features pretty much the same controls as the limiter in the Toneforge Menace and an advanced version with more control over the experience. This plugin is available in VST2/3, AAX, and AU formats and as always with JST products, is DRM free (he trusts you with the software so don’t screw it up) meaning you do not have to go through the whole dongle, registration song and dance. Install is a breeze and the user manual is located in the application folder for easy access.
 
Finality Lite is somewhat similar in look and function to an LA2A, except with a few more added features. On the top left is an input knob which allows for driving the input signal into the gain reduction stage for more aggressive limiting. On the top right is a mix knob to control just how much limiting you would like in a track of bus. Other than those two buttons, you have a threshold, meter style switch, and output gain knob. The rest of the limiting stage is taken care of by Mr Sturgis’ own custom attack and release settings, but if you would like access to more under the hood, the advanced version may be more suited for you.
 
Finality Advanced takes the exact same features as Lite and adds an onslaught of controls. In addition to the input gain stage, mix knob, threshold, and output you are given a complete side-chain section, look-ahead, an additional gain trim knob, and a few special switches and buttons. The side-chain section houses a switch to turn it on, frequency selector that goes all the way to 12kHz and an SC Monitor that allows you to hear just what frequencies will trigger the limiting. The look-ahead is useful in catching quick transients by scanning ahead of the audio up to 5 milliseconds. In the middle section sits an “Aggro” button which tailors the release stage to fit faster peaking material, a hard and soft mode, which also changes the release behavior, and a “Color” button to inject subtle distortion into the signal. The Color button’s affect can be heard by lowering the threshold and makes for a very characteristic limiting. Finally, the Auto Gain works to bring the overall volume of the track to an optimum level based on the amount of gain reduction taking place.
Overall, this Limiter gives out versatile results, providing either pristine or vintage limiting with a vibe. Transient heavy content is handled great by its “Aggro” knob and I found myself using this just as much as a dynamics tool as a “tone” tool. The hard and soft settings provide audible differences in limiting type and are a must have in adding different characteristics to tracks. The sky is the limit with this plugin. At a $90.00 for Advanced, you are getting a steal for the features and sound of this limiter. If you’re not into many controls and just want easy limiting, the lite version does the trick excellently and is just $30 cheaper. Honestly, just spring for the Advanced and have both plugins, one for when you just need a quick tool with lite, and Advanced when you need to be surgical.
 
The only issue I really have is in the metering. Finality features Input, Output, and Gain Reduction Limiting, but in the version at the time of review, the Input and Output only seem to register the initial transient, then fall back down to the bottom of the meter. The gain reduction portion works great which is what is usually used so this is a mere speed bump in an otherwise fantastic plugin. I believe this issue has been addressed and will be resolved in a future update. I’d also like a few custom Joey Sturgis presets as well. Other than that, Finality is one of those plugins you could use in a “Desert Island” situation due to its dynamic and tone shaping abilities. Give me a stock EQ and I could mix albums with it.
For more information and to purchase, click HERE.

HELP: Maschine Will Not Connect To Controller

By
Bryan
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So you buy a Maschine Controller with a nice new MacBook Pro. You plug it in and the device flashes twice, then goes to just the Native Instruments logo but nothing lights up. Immediately, you think the worst, “my controller is broke”. If you are lucky, you have a friend with one to use just to see if its your controller. His controller does the same thing. You reinstall drivers, software… everything. Nothing fixes it. Well, you’re in luck… I have a fix.
The issue lies in an Avid Core Audio plugin that fights with Native Instruments.

NI software with a hardware dependency, such as MASCHINE, KOMPLETE KONTROL, TRAKTOR, GUITAR RIG and Controller Editor will not recognize the corresponding hardware devices when the AVID CoreAudioManager / Drivers are installed under OS X 10.10.5 Yosemite or OS X 10.11 El Capitan.
Native Instruments and Avid are working together to resolve this compatibility issue.
Follow these step-by-step instructions to temporarily remove the Avid CoreAudio driver in order to allow NI products to run properly under Mac OS 10.10.5 or OS X 10.11:

  1. Open the Finder and locate the following folder: Macintosh HD > Library > Audio > Plug-Ins > HAL
  2. Copy the “Avid CoreAudio.plugin” to another location, for example the Desktop.
  3. Delete the “Avid CoreAudio.plugin” from the HAL Plug-in folder.
  4. Type in the admin password when prompted.
  5. Restart your computer.

While you still can fully use Pro Tools without the Avid CoreAudio driver, it is not possible to monitor the audio output of any third-party application using your Avid audio interface after deleting the file.
This fix can also help with:

  • RazerAudio.plugin”
  • “Hear.plugin”
  • “SoundBunny.plugin”
  • “Digidesign CoreAudio.plugin”

As these files are likewise found in the HAL folder, the procedure to manually remove these files remains the same as explained above.
If you should require the functionality of your plugin again, you need to move the file back to its original location and restart your computer. In this case, the mentioned NI applications will not recognize their corresponding hardware.

Boom…. fixed. I just saved you quite a few emails back and forth with NI.
Although you will not be able to use an HD Native system as a soundcard with your OS X Audio, the plugin can be added back in when that is needed.
 
 

Waves NX Virtual Mixroom

By
Bryan
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I was very excited when I first saw news on this product, then I was quickly let down by the misrepresentation of the term “Mix Room”. NX is essentially a plugin that lets you move your head around and feel what it would feel like to be in a mix room. It can mix in stereo and surround. It is supposed to make mixing in headphones feel more real. Where it falls flat is that it does not correct the fundamental flaws in mixing with headphones, creating flat response. If this plugin featured something to correct EQ and phase coherencies in headphones, we would be in business, but unfortunately, this plugin does not do that. It does however probably help in creating music by giving you a more “roomy” feel.
KNOXVILLE, TN, January 28, 2016 — Waves Audio, a leading provider of digital signal processing solutions, is now shipping Waves Nx, a Virtual Mix Room plugin that puts you in the sweet spot – everywhere you go.   
Waves Nx gives you the optimal acoustics of a great mix room – right inside your headphones. Powered by Waves’ groundbreaking Nx technology, this plugin lets you hear, on headphones, the same natural depth, natural reflections, and panoramic stereo image you would be hearing from speakers in an actual, physical room. You can now enjoy all the advantages of headphones – portability, affordability, privacy – with all the acoustic benefits of a great-sounding, fully professional mixing facility.    
Want to turn your headphones into a more reliable mixing and monitoring tool? Here are just some of the advantages Waves Nx has to offer:   
Waves Nx “unmasks” your headphone sound, letting you hear everything with real-world dimension, rather than flat in your head. This way, you can hear all the elements of your mix accurately laid out in space, just as you would in the sweet spot of a beautiful-sounding room.     
Waves Nx finally bridges the gap between monitoring on speakers and monitoring on headphones: no longer do you have to worry that what you’ve mixed on headphones will sound different once you switch to speakers. By letting you hear on headphones the same natural depth and stereo spread you would be hearing on external monitors, Waves Nx puts an end to constant cross-referencing between the two.   
Need to spend hours at a time mixing on headphones? By delivering the natural listening experience of a physical room, Waves Nx makes the headphone experience comfortable and ear-friendly over long periods of time.   
Want to mix for 5.1 surround on your regular stereo headphones? Waves Nx lets you do exactly that – a true revolution in the world of surround mixing.    
Most important: Waves Nx does all this without coloring your sound in any way. What you hear is your mix, exactly the way you want it to sound – only now you have a more accurate way to monitor it on headphones.   
Use Waves Nx with real-time head tracking – taking advantage of your computer’s camera or the Waves Head Tracker unit – and enjoy the enhanced realism of being in the Virtual Mix Room, anywhere and everywhere you go.   
Waves Nx key features:
  • Get the great acoustics of a professional mix room – inside your headphones
  • Hear natural depth and real-world stereo image over headphones
  • Bridge the headphone/speaker gap – put an end to constant cross-referencing between headphones and speakers
  • Mix for 5.1 surround on your regular stereo headphones
  • Use Waves Nx with real-time head tracking for enhanced realism
Price: (Intro) $49.00 (Regular) $99.00
For more information, visit http://www.waves.com/plugins/nx#introducing-nx-virtual-mix-room

Waves Abbey Road Reverb Plates

By
Bryan
-
Plate Reverbs are considered the cool kids of the reverbs. They add a vibe all their own to music. Abbey Road is in the exact same ballpark, with some of the most coveted pieces of gear in existence. One is their EMT 140 Plate Reverb. These aren’t your run of the mill Plate Reverbs either. The engineers at Abbey Road modded the plates with unique solid state preamps to keep all of the bad stuff out of the good stuff. Now Waves has meticulously modeled these into a plate reverb we all can use.
KNOXVILLE, TN, February 15, 2016 — Waves Audio, a leading provider of digital signal processing solutions, is now shipping the Waves Abbey Road Reverb Plates plugin.   
Introduced over half a century ago, plate reverbs have been a fixture of recorded music ever since. Used most prominently in the ‘60s and ‘70s by pioneering bands, including the Beatles and Pink Floyd, Abbey Road Studios’ original reverb plates — four EMT 140 units — were first installed in 1957 to complement the fixed reverberation times of the studios’ echo chambers. These beautiful-sounding plates, with a variable reverb time of up to six seconds, were then tweaked to perfection by Abbey Road’s technical engineers. To keep noise to a minimum, EMI’s Central Research Laboratories designed unique hybrid solid-state drive amps for Plates A, B and C. Plate D remained fully valve-powered on both drive and output stages, allowing a versatile array of sonic characteristics, from warm and dark to lush and smooth.   
In each of these original plates, the stereo reverb effect is created by suspending a large sheet of metal with tensioned springs attached to each corner. A transducer injects the metal sheet with audio energy, which is picked up by two contact mics fixed to the surface of the plate. The reverb time can then be adjusted by using an internal damper, and all of this is contained within a large wooden unit.   
These historic Abbey Road plates have been used on countless seminal pop, rock, classical and film recordings over the years, and continue to be used in all kinds of audio production to this day. Waves has now created meticulous models of these stunning and unique-sounding units, individually modeling the harmonic distortion of both the drive and output amps as well as the individual plate/damper behaviors.   
Key features of the Waves Abbey Road Reverb Plates plugin:
  • Precise modeling of four legendary Abbey Road plates (EMT 140), each with its unique sonic character
  • A drive control to set the THD characteristics of the in/out amplifiers and the plate sheet itself
  • Ability to control the amount of analog noise and hum
  • Four original bass cut positions
  • Crosstalk between the stereo inputs to get a stereo leak effect    
Abbey Road Plate Reverbs is available now
Price: (Intro) $99 (Regularly) $199
Learn more: http://www.waves.com/plugins/abbey-road-reverb-plates#introducing-abbey-road-reverb-plates.

Elysia Celebrates 10 Year Milestone with Vinyl Allstars

By
Bryan
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If you do not own one of these already great pieces of hardware from Elysia, now is the time to buy. First they used really nice wood to enhance the look, but in order to celebrate their 10th year of bring everyone great products, they used actual pieces of music history to deck out the interface.

NETTETAL, GERMANY: high-end audio processor manufacturer elysia is proud to commemorate its 10th anniversary by releasing the Vinyl Allstars — a remarkable run of its complete range of karacter, nvelope, xfilter, and xpressor 500 series modules as distinctive limited editions with visually-stunning front panels hand made from real records! — on February 8
Each individual module features a unique groove pattern based on the individual record from which it was crafted. The vinyl front panels are supported by a sepia-colored layer of acrylic glass, gently emphasizing the vintage vibe of this ultimate analog appearance.
This vinyl/acrylic panel is attached to an additional steel base plate, ensuring the stability of the front panel. The steel base is finished with a black powder coating to prevent oxidation and blend into the color of the record.
Anodized matte black aluminum knobs manufactured exclusively for this limited edition, cream-coloured silkscreen graphics, and a set of included lens head screws matching the coherent look of this special edition add the perfect final touches to the classic vibe of these units.
“These carefully selected materials combine beautifully to create a very individual appearance, rich in audio history”, says elysia CEO Dominik Klassen. “And it is our pleasure to be able to thank our supporters for 10 amazing years by offering these luxury editions with no extra charge at all.”

The Vinyl Allstars are limited to 50 pieces per module worldwide. To get a closer look at these amazing special editions and find a complete list of dealers offering them, please point your browser at: http://www.elysia.com

FabFilter Plugin Updates

By
Bryan
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FabFilter has updated their whole lineup of great plugins to correct many bug fixes. If you’d like to see some reviews on a few FabFilter plugins, click on the links below.
FabFilter Saturn
FabFilter Pro-Q2
FabFilter Pro-C2

All plug-ins updated

We have just released minor updates for all plug-ins, which solve a few issues that have surfaced after the last update release in December 2015:

  • Restored support for Windows XP in all plug-ins.
  • Added a workaround for a bug in Logic’s AU validation tool on OS X 10.6 up to 10.8 that could cause Logic to fail to recognize our AU plug-ins.
  • Enabled High DPI support on Windows versions prior to Windows 8.1.
  • Fixed a bug in the VST3 versions of all plug-ins that could cause a crash in FL Studio and possibly other hosts after removing a plug-in from a session or closing a session.
  • Fixed possible dropouts in the real-time level display in Pro-L, Pro-C 2, Pro-DS and Pro-G when using a large host buffer size such as 4096.
  • Fixed a bug in the AAX and RTAS versions of Pro-C 2 that prevented the Wet Gain and Dry Gain parameters to be available for mapping by Pro Tools.
  • Fixed a bug in FabFilter One that caused it to reject a range of valid presets written by earlier versions of the plug-in.
  • Fixed a bug in FabFilter Pro-C 2 that could cause the side chain EQ Mid band to stay enabled, even while the whole Side Chain section was disabled.
  • Fixed a bug that caused a very small DC offset in the output of FabFilter Micro, Simplon, Volcano 2 and Timeless 2.
  • Fixed a bug in our AAX plug-ins that caused version 2 plug-ins (like Pro-Q 2 or Volcano 2) to show up as ‘2’ in Mini track view in Pro Tools.
  • The FabFilter Pro-DS OS X installer now includes the mono VST2 version again, which accidentally had been left out in the previous version.
  • Various small bug fixes.

This is of course a free update for existing users, and we recommend everyone to upgrade to the latest plug-in versions.

For more information, visit http://www.FabFilter.com

iZotope DDLY Dynamic Delay

By
Bryan
-

Time is running out. Head on over to iZotope to get a limited time FREE version of their new Dynamic Delay, DDLY. This very easy-to-use interface will take the mundane out of your effects chain. Did I mention it’s free?

DDLY combines top-shelf analog and granular delay with a dynamic responsiveness to incoming audio, providing both conventional and unconventional effects on a variety of instruments. The plug-in is well-suited for drums, vocals, synths, guitars, and any other source with a strong range of dynamics and expressiveness. On a drum track, for example, users can add echo to only the harder attacks of the kick and snare. For vocals, musicians can exploit the full range of a vocal performance, with subtle delays on calmer verses and more intense delays during the big moments of a chorus.
“When we created DDLY, we wanted to provide a fresh, new delay-driven playground for musical creativity. Whether you’re feeling timid or adventurous, we strongly encourage experimentation,” comments iZotope Product Manager Matt Hines. “With DDLY, keep it clean, make it wild, or anything in the middle -whatever feels right for you.”
Key Features:
 
  • Two delays in one: DDLY analyzes audio based on an adjustable threshold to determine what to send to the top delay and what to send to the bottom delay. Adjust the Intensity to affect how strongly the signal is split between the two-great for a punchy delay on the harder, transient crack of a drum and a shuffling delay on the main beat elements.
  • Customize your delay: Both delays have two modes to choose from: Analog or Grain. Analog produces warm lo-fi delays with smearing and nostalgic degradation. Grain produces melodic, symphonic, and futuristic sounds for truly new soundscapes.
  • Responsive interface: The interface of DDLY Dynamic Delay reacts to the material on which it’s applied to give unique, real-time visual feedback. As the knobs come to life, the sound gets more compelling.

Keep it clean or make it wild—whichever feels right for you.
 

DDLY Dynamic Delay is available now at www.izotope.com/ddly and at select retailers.

  • DDLY Dynamic Delay is offered free of charge through March 10th, 2016. Limit one, non-transferrable copy per customer during this period.
  • After March 10th, 2016, DDLY Dynamic Delay will be offered for $49 USD (€49.95 EUR).
Learn more about DDLY Dynamic Delay at www.izotope.com/ddly

 
 

Creative Live Studio Pass: Sylvia Massy

By
Bryan
-

Sylvia Massy is hosting a free Creative Live Studio Pass workshop March 23rd and 24th. She is the complete package, not only can she mix circles around most of the guys in the business, she looks better than all of them! She also has released a new book “Recording Unhinged”. Registration is free.

SEATTLE, Wash. – CreativeLive ‘Music & Audio’ has announced a free, two day ‘Studio Pass’ workshop to be hosted by veteran producer and engineer, Sylvia Massy, known for her work with legends like Prince, Johnny Cash, Tool, System of a Down and Red Hot Chili Peppers. The two day course will stream live for free on Wednesday, March 23 and Thursday, March 24 from 12:00 p.m. – 7:00 p.m. PST / 3:00 p.m. – 10:00 p.m. EST. Pulling from her years of experience and sharing stories from her newly published book Recording Unhinged, Massy will demonstrate techniques mastered over the last 30+ years as she built a career as one of the gutsiest and most innovative rock engineers. Massy will be joined in the studio by Seattle alt-rock band, Thunderpussy, as they record a track live from Seattle’s Avast Studios. Head over to CreativeLive ‘Music & Audio’ at: https://www.creativelive.com/courses/studio-pass-sylvia-massy for more information and to enroll for free today.
 
Commented Massy: “It’s time to high dive into the deep end. Join me in March when I’ll be working with CreativeLive at Avast Studios to record the awesome Seattle band Thunderpussy. I’m notorious for my unconventional methods, and during this session I plan to demonstrate some outrageous techniques from my book Recording Unhinged. See you there!”
 

Stay tuned to CreativeLive’s ‘Music & Audio’ channel at: http://www.creativelive.com/audio for more information on “Studio Pass: Sylvia Massy” and other upcoming workshops.

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